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THE 



AMERICAN GRAINERS' 
H[^]Nri3-B00K: 

A POPULAR AND PRACTICAL TREATISE 



ON THE ART OF 



Imitating Colored and Fancy Woods; 

WITH f 'Y 

EXAMPLES AND ILLUSTRATIONS, 

BOTH iisr OII_ u^isriD disteiviii^er,. 

BT THE AUTHOR OF 

"How Shall we Paint," ''Plain Talk with Practical 
Painters," "Coach Painters' Companion," &e. 



PUBLISHED BY 4 

CToEcnNT "SAT. 1s/Lj^^-xj':ei-^ &c Sonsr, 

NE^V YORK. 






Entered according to Act of Congress, in the year 1872, by 

JOHN W. MASURY, 

In the office of the Librarian of Congress, at Washington, D.C. 



W. J. Read, Steam Printer, 116 Fulton Street, N. Y. 



G01^TTE;Xs^TS. 



PAGE 

Ai-tist Grainers 45 

Ash Graining 63 

" " Color, Ready-made 64 

' ' Hungarian 65 

Black Walnut Graining 51 

" " Ground, how made 52 

Glazing 59 

" " Tools required for 60 

' • " Distemper 93 

Bird's-Eye Maple 75 

Chestnut Graining 69 

City Grainers 102 

Cheap Jobs 104 

Colors for making grounds 108 

Conclusion 109 

Dark Oak 41 

Distemper Graining 74 

Economy of Pure Paints 16 

" " Ready-made Colors 105 

Flash Lights 35 

Grainers " To the Trade " 10 

Graining, Art of, acquired by practice 10 

Ground, and Graining Colors 17 

" for Light Oak 39 

Glazing Light Oak 34 

General Remarks 101 

Horn Tool 37 

Harmony of Colors 46 



CONTENTS. O 

PAGE 

How to Varnish 99 

Introductory 7 

Light Oak Graining 25 

Lights, taking out 32 

Masury's New System 71 

Mahogany Graining 80 

Glazing 84 

Mixing Colors 12 

Niggardly Economy 103 

Order of Proceeding 33 

Painted Imitations 10 

Pure Colors, Manufacturers of 42 

Quackeiy in the Trade 11 

Ready-made Colors 12 

Rubbing in the Color 26 

Rosewood Graining 85 

Smooth Surface requisite 18 

Summary of Instructions 36 

Satin-wood Graining 89 

Study for Learners 26 

Tools and Brushes, cost of 19 

" " engi'avings 21 

22 

Varnish 96 

Varnishing. How to do it 99 

White Lead, its purity, &c 13 

" " Pure, how to get it 14 

" Who make it 15 

" " Counterfeit Marks 13 



iiL.x.xjSTi^^^Tionsrs. 



Ash. 



PAGE 



Oil Graining 67 

Black Walnut Graining. 

Pencilled 53 

Wiped out 57 

Ground 61 

Bied's-Eye Maple. 

Distemper 77 

Dark Oak. 

Sap Work 43 

Dapples 47 

Ground 49 

Light Oak. 

Sap Work 24 

Dapples 30 

Ground 39 

Mahogany. 

Distemx)er 81 

Rosewood. 

Distemper ._ 37 

Satin-wood. 

Distemper 91 



THE 

AMERICAN CtRAINERS' HAND-BOOK. 



INTKODITCTOEY. 

"The Art of Imitating Coloeed axd Fancy Woods, 
TAUGHT IN TWELVE EASY LESSONS," woiilcl be a " taking " caption 
to this introduction, and some credulous souls would certainly 
loelieve it true. We are sony to disjDel such simple and child- 
like faith ; but a regard for truth and common sense compels 
us to declare, that to reach the goal of success — m this, as in 
all other branches of the art of painting — one must travel the 
long road of patient study, close observation, and practice, 
practice, practice. To imitate T^ith colors, the veins and 
grams and figures in a piece of fancy wood, requires the same 
faculties, the same development of perceptive power, the same 
care and skill and talent, as are required to portray the linea- 
ments of the human face. Not in the same degree, perhaps, 
but in the same direction. 

As no two faces are alike, so no tw^o pieces of wood are 
exactly similar. For this reason, the gTainer must always be 
a student, always a learner. Oak wood, for example, presents 
all neutral browns, from Vandyke brown to almost Avhite. 
One may see in it a knot, which is the color of charcoal, and 
albino specimens, which are quite devoid of color ; between 



8 AMEEICAN GKAINEES' HAND-BOOK. 

these two extremes may be foimcl every possible shade of red 
and yellow broTv^ii. Light oak requires a ground-work of 
palest straw color, while dark oak is best imitated on a 
ground of red, almost bright enough for mahogany. White 
oak is almost devoid of color, while the Western oak is quite 
a foxy red : and no jury of expert grainers would agree as 
to what is the average color of the wood, because each one 
would have a prejudice or predilection for some particular 
tone which he has unconsciously fixed in his mind, and which 
he has habitually accustomed himseK to impart to his work. 
As a rule, light oak gi-aining presents too much of the yellow, 
and dark oak is represented with too little of the red tone. 
In other words, Hght oak is made too bright, and dark oak 
not bright enough. 

The novice must not expect to make even a tolerable 
imitation of any fancy or common wood, by the simple apjDli- 
cation of grauiing color to a proper ground. The operation 
is three-fold, and in some cases even more than that. Finished 
natural woods do not reflect their colors superficially alto- 
gether. They have depth, as well as tone and figure ; and in 
colored imitations of the same, these facts and conditions 
must be respected, and the operation must proceed in accord- 
ance therewith. The requisites are : a solid, smooth ground- 
work, a coat of graining color on that whereby may be shown 
the grain and figures of the wood, and on that, a glazing of 
transparent color, to show the lights and shades, and to give 
the requu^ed depth and transparency. It must not be for- 
gotten that the intent in graining, is not to represent the wood 
in its natural colors, but in the tones and shades it puts on 
when varnished or pohshed. The cold blackish grey of un- 
finished black walnut for instance, is altogether different from 
the warm reddish brown which this wood reflects when 
varnished and polished. There is, too, a rich undertone of 
yellowish red, which glows out fi^om beneath the surface, the 



INTRODUCTOKY. 9 

presence of wliicli would not be suspected in tlie natural 
growth, as it comes from the planer. Woods, too, change 
color when exposed to the light and to other atmospheric 
influences, and put on a richer, mellower, softer tone with age 
and use. These conditions must be known and respected, 
too, if the learner would become a successful imitator of 
natural woods. In this, as in other branches of imitative art, 
nature must not be followed too closely ; because, nature in 
her endless variety, presents many specimens which the 
painter would rather avoid than imitate. 

The animal painter would not select from the flock the 
shabby specimens to show on his canvas. So, the imitator 
of fancy woods shomd select, for imitation, the best which 
nature oflers ; those which are most pleasing to the eye, and 
most interesting as objects of study and observation. Natural 
deformities, excej)t as curiosities, are not worth pei-petuating. 



10 AMEBICAN GRAINERS' HAND-BOOK. 



CHAPTEE II. 

PAINTED IMITATIONS OF (^OLOKED WOODS, TECHNICALLY CALLED 
I GRAINING. 

I The art of imitating the grain, knots and colors of fancy 

I woods, is — like all painting not merely mechanical — acquired 
I by study, close observation, and long contmued and constant 
practice. Success in this line, is dependent on the posses- 
sion, or development, rather, of those faculties without which 
a person should hardly adopt this profession as a specialty. 
I An eye prompt in detecting similarity in shades and hues of 
color, imitative power and delicate manipulation, is indis- 
pensable in the make up of a good Grainer. 

Formerly the House Painter was supposed to include 
among his accomplishments the Art of Graining as well as 
Sign Painting, Gildmg, and all other branches of the trade ; 
but of late ye^irs it has become the custom for some to give 
undivided attention to these several branches, for which they 
individually have, or seem to have, a special faculty, taste or 
predilection. Therefore certain workmen designate them- 
selves as "Grainers to the Trade," "Sign Writers to the 
Trade," &c., <fec. This custom can obtain, of course, only in 
the larger places, there not being in small tow^ns and A^iUages 
sufficient work in any one branch to permit workmen to 
devote themselves entirely to a special department. 

To teach the art of imitatmg the grain of the various 
woods used in domestic architecture, by a set of written rules 



PAINTED IMITATIONS OF COLORED WOODS. 11 

and directions, would be as mnch an impossibility as to make 
a finished musician by teaching the theory of sound. Even a 
tolerable degree of perfection in the art can be obtained only 
by much practice and close observation ; but, there is a great 
deal that can be told, and much that can be acquired more 
easily than by practice, the same being the knowledge exper- 
imentally gained by those who, with skill and long practice, 
have become perfected in this particular branch of the art of 
painting. 

The disposition for grained Avork, which at one time de- 
cKned materially, has of late years revived ; and the fashion 
for this kind of painting is now more prevalent and general 
than ever before, the difference being simply that certain 
kinds of woods, as mahogany, rosewood and maple, which 
were once much desired, have been supplanted liy an affection 
for light and dark oak and black walnut. The numl)er and 
variety of brushes and other tools used in graining, can be 
herein shown, with sufficient accuracy of description, to 
enable the novice, or entirely unlearned, to order what he 
will necessarily require in case he shall be disposed to prac- 
tice the imitative art. 

Formerly, the art of graining in oil colors was practiced 
comparatively by few, and the knowledge^ of the j^igments 
and other materials used, was a real or pretended secret. 
The AATiter has seen a professed grainer involve himself in 
the utmost secrecy, and work in a mysterious way when 
simply mixing common brown wax with heated oil and tur- 
pentine to make what is called " magilp." These little " tricks 
of the trade," the quackery of the professors, are much less 
common now than in 3-ounger times. The printing age, and 
the book-making mania, have brought to light niost of those 
occult compoundings, and placed what was once hidden 
knowledge within the reach of all. There is truly no trickery 
in art. Its best results are gained only by patient labor ; and 



12 AMERICAN GRAINERS' HAND-BOOK. 

tlie artist who claims to accomplisli these by some secret 
process known only to himself, may be set down — a quack. 
In these, oui' times, not only are there no mysterious com- 
poundings, but the would-be grainer does not of necessity 
require a knowledge of the simple names of the materials 
which he would use, because of the fact that Eeady-made 
Graining Colors — which require only to be thinned to fit 
them for use — are placed within his easy reach. Therefore, 
the gi'eatest of the obstacles in the way of the practice of 
graining — by those who have not had the advantages of prac- 
tical instruction in the art — is removed ; and the Avould-be 
grainer has only to learn the theory of " how to do it," and 
all the rest comes by practice and observation. 

When and wherever in the following pages rules and pro- 
portions are given for producing certain tones and tints for 
ground work, or for other purposes, the reader will bear in 
mind the fact, that the looked for results cannot be reached 
by the use of materials which differ fi'om those given, either 
in kind or quality. Every pamter should readily see the 
necessity of adopting some absolute standard, other^vise we 
shall all be working in the dark. When we say Raw Italian 
Sienna tinted with White Lead, A\ill give the best ground 
work for Light Oak Graining, we beg the reader not to expect 
to produce that result with lead that is White Lead only in 
name, and with Sienna which is a clay-colored mixture, as 
unlike the genuine Italian Sienna as the sale of it is unHke 
honest dealing. No painter should ever purchase a package 
of ground color Avliich does not bear upon it the name and 
guarantee of some well-known responsible manufacturer. 
The consumer should know, as a rule, that the gi"Ound paints 
sold throughout the country are not genuine. The packages 
do not contain — even in a highly adulterated state — the 
article which is indicated by the label or brand on the 
exterior thereof. 



PAINTED IMITATIONS OF COLORED WOODS. 13 

White Lead, so well known by its familiar name, is the 
most important and useful article in the stock of the pamter. 
Its unequaled density, opacity and easy-working qualities, 
have made it the favorite pigment with the Trade, and all 
attempts to supersede it have been, so far, entirely without 
success. The demand for it is always increasing, and new 
estabhshments are from time to time erected in different parts 
of the country to supply the growing want. No article in 
common use probably has been adulterated to such a shame- 
ful extent, as has this indispensable pigment. The fact that 
its purity can be ascertained by chemical or mechanical tests 
which are known only to the initiated, has rendered this adul- 
teration easy and its detection extremely difficult ; and to-day 
the only guarantee which the purchaser has of the genuine- 
ness of the paint, is the name of the maker which the contain- 
ing-package bears. This, even, is not an absolute security^ 
because the marks and brands of well-known manufacturers 
have been fraudulently counterfeited and imitated. White 
Lead is what is known in trade as a leading article. What 
sugar is to the grocer, White Lead is to the seller of paints. 
It is almost everywhere sold at a merely nominal profit ; and 
the tradesman readily accepts anything bearing the name 
of pure White Lead which he can seU at the price of the gen- 
uine article. The result is, a satisfactoiy enhancement of the 
seller's profit, but extreme disappointment on the part of the 
consumer. Thousands of tons of so-called White Lead are 
annually sold in the United States which do not contain a 
single grain of that material. A detailed statement of the 
ways and means whereby this fraud upon the consumer is ! 
effected, would seem hardly necessary here, and we rest upon ; 
a simple statement of the fact, as being all that is necessary | 
or important. | 

The samples shown on succeeding pages are all produced | 
by the use of pure White Lead. In giving directions for re- 



14 AMERICAN GKAINERS' HAND-BOOK. 

producing these tints it becomes, of course, absolutely neces- 
sary that some base of proceedings be first established ; 
otherwise our results would be as uncertain as the Avind. It 
would be worse than vanity for the writer to give directions 
for the producing a given tone of buff, for instance, if the 
materials necessary to the mixture were not the same in 
quality as well as quantity. If the white, which must form the 
])ase and bulk of the mixture, l^e not White Lead, but only a 
fictitious imitation of it, and the cpiantity of color necessary 
to reproduce the given tint be used, the result, of course, 
would be entii'ely unexpected. At the risk of being charged 
with unnecessary repetition, the writer would again call the 
attention of the consumer to the fact that all painting, to be 
done economically, must be performed with the best mate- 
rials. If White Lead be recpiired to paint a house, get 
Pure Lead, at whatever cost. If Yellow Ochre is demanded, 
get it pure, if you can. Ever}^ painter and consumer will do 
well to lay to heart the following axioms : 

1st. — The purer the paint and the better it is of its kind, 
the less it costs to do painting of whatever grade or degree. 

2d. — A job of painting, of whatever character, can be per- 
formed at a less first cost of money and time with the best, 
rather than with the cheapest paints. 

I propose to give the address of those manufacturers 
of White Lead in the United States whose name is ample 
guarantee of the genuineness of their products. 

A keg or pail of White Lead, honestly bearing the name 
or brand of any of the foUowmg firms or corporations, may 
be used in accordance with the rules laid down without fear 
of unexpected results ; but Avithout claiming that the folloAv- 
ing list includes all the names of Corroders of Lead in the 
country, the writer has no hesitation in assuring the con- 
sumer, that he may use the Pure Wliite Lead manufactui'ed 



PAINTED IMITATIONS OF COLORED WOODS. 15 

by auy of named firms with the fullest confidence in its 
genuineness and purity. 

Atlantic White Lead Company. Eobekt Colgate <fc Co., 
No. t^87 Pearl Street, New York. 

Boston Lead Company, Boston, Mass. J. H. Chad wick & Co., 
Agents. 

John Jewett & Sons, 182 Front Street, New York. 

Forest River Lead Co., Salem, Mass. 

Cornell Lead Co., Bufialo, N. Y. S. G. Cornell & Son. 

Maryland White Lead Co., of the City of Baltimore. 

St. Louis Lead & Oil Co., St. Louis, Mo. 

Beymer, Bauman & Co., Pittsburgh, Pa. 

Wetherill & Brother, Philadelphia, Pa. 

Eckstein, Hills & Co., Cincinnati, Ohio. 

Battelle & Renwick, 163 Front Street, New York. 

Eagle White Lead Co., Cincinnati, Ohio. 

Union White Lead Manufacturing Co., New Y^ork City. 

Salem Lead Company, Salem, Mass. 

Brooklyn White Lead Co., 89 Maiden Lane, New York, 

Southern White Lead & Color Works, St. Louis, Mo. 

Collier White Lead <fe Oil Company, St. Louis, Mo. 



16 AMERICAN GliAlNEltts" HAND-BOOK. 

E^'erv mau of coinmou seuse can understand that buying 
sugar which is half sand, because the nominal price is only 
two-thirds that of pure sugar, is not an economical proceed- 
ing. Yet painters and other consumers buy paints every day 
which are more than half sand or some other worthless mate- 
rial, simpl}^ because the nominal price is less than that of 
pure color. It ought not to require a very brilliant intellect 
to comprehend the fact, that in "distributing a pound of pure 
color through ten cans of so-called ground paints, the con- 
sumer has to pay for ten packages instead of one, and ten 
fi-eights and ten profits when he should pay only one. This 
digression is made in the hope of impressing the painter, 
once for all, with the absolute necessity of supplying himself 
with the purest materials. With such the best results are 
possible. Without them he need hardly hope for success. 
As a rule, it will be well to avoid many-hued labels. These 
are often used with intent to deceive. Truth can commonlv 
be told on plain white paper 1 



GKOUND, AND GEAINING COLOKS. 17 



CHAPTEE III. 

GKOUND, AND GEAINING COLORS. 

Looking at a wainscot or wall of oak and 1:)lack walnut 
in alternate strips, one sees a variety of tints, from pale yel- 
loAv, to light umber tone in the oak, and from light red-yeUow- 
brown, to deepest black-brown in the walnut. It becomes 
necessary, therefore, in order to avoid the extraordinary labor 
of making a ground for each separate width or strip, to put 
on such a color for the ground of either wood, as will enable 
the workman to show the lir/hfcst colors which the woods 
respectively present, trustmg to a greater depth and body of 
color to produce the darker shades. 

The ground color for light-oak, maple, satin-Avood, chestnut 
and ash, may be the same. We do not say that all these 
woods may be imitated equally well on the same colored 
ground ; yet the specimens of those several woods shown in 
this l30ok were all grained on ground of the same tint : that is. 
Raw Italian Sienna and pure White Lead. Black walnut 
ground of course differs materially from the others mentioned, 
both in tone and depth of color ; but it Avould not be a difficult 
task for an expert to make a fair job of black walnut on the 
maple ground. Attention is called to this fact to show that 
the color of the ground work is after all of less consequence 
than it would seem, supposing it to be light enough, as its 
brightness can always be subdued by the use of a gi'eater 
quantity of the dark graining color, and the glazing coat. It 



18 AMERICAN (iltAINEKS' HAND-BOOK. 

is, liowever, a matter of jjriine importance, that the surface 
of the work shall be smooth, solid and uniform in color, in 
order that the graming color shall comb cleanly and wipe 
out clearly and brightly. The graining colors also should be 
compounded of the best Italian Siennas, or Turkey Umber, 
or German Vandyke Brown, as the case may require. If 
common colors be used, such as are generally sold in the 
shops in the country, the Avork will present a muddy, cloudy 
appearance, alike inartistic and unsatisfactory. In the matter 
of economy, the best colors are altogether preferable, for the 
reason that a dollar's worth of the pure colors will be suffi- 
cient to cover a nmch larger surface than three dollars of 
impure, so-called cheap colors. In the hrst case the best 
results are possible; in the second, they are utterly unat- 
tainable. 



TOOLS KEQUIKEI) FOR GRAINING. 19 



CHAPTER IV. 

TOOLS ]JEQUIRED FOR GRAINING. 

There are certain tools and brushes indispensable in the 
production of painted imitations of fanc^^ woods ; without 
which, even the most expert professional grainer would l)e at 
loss, and would hd)or under difficulties. Yet it must be 
understood that such a Avorkman, through use and skill, by 
means of a cunning hand and practiced eye, may and does 
produce effects with means and appUances which the novice 
could hardly find use for. A good workman may work with 
indifferent tools ; but the unskilled must avail himself of all 
the advantages which the best tools and materials place 
Avithin his reach. First in importance — after the brushes 
necessary for applying the grainmg color to the ground 
work — comes a badger-hair blender and softener — cut of 
which is herewith shown under its proper name. Second, 
steel graining combs. A set of these comprises twelve combs, 
three of which are one inch wide, three tw^o inches, three 
three inches, and three four inches wide. Each comb in 
the several Avidths varies from its companions in the size 
of the teeth, one in- each of the four Avidths being fine, one 
medium, and one coarse. Formerly, a feAv leather combs 
were considered indispensable ; but noAv, when coarse combing 
with clear, distinct gram is required, tjie result is effected by 
the use of one of the coarsest combs, the teeth of the same 
being covered AA'ith a piece of cotton rag or cloth. This is in 



20 AMERICAN GEAINERS HAND-BOOK. 

every respect the equivalent of a leather comb. This short 
list, with a top- or over-grainer — drawing of which is given — 
comprises all the extraordinary tools required, the rest being 
common in and about every ordinary paint-shop, and consist- 
ing of a painter's duster, two or three flat bristle or fitch 
brushes, and a piece of clean cotton rag. For graining maple, 
a tool called a cutter is necessary, and that will be described 
under the head of Maple Graining. The cost of this set of 
grainer"s tools will be, at the outside, say five or six dollars. 
It must not be understood that for all kinds of work no other 
brushes are required or made use of, for the reason that very 
extended surfaces — such as large stores or warerooms, where 
the work is to be mostly plain, and when it is necessary to 
get over the largest possible space in the least possible 
time — require the use of larger brushes. These, however, 
will be noted, each in its appropriate place. The reader will 
not take exceptions certainly to the remark, that to give the 
names and description of the tools and brushes, is much 
easier than to teach the lesson of how to use them. 



TOOLS AND BRUSHES. 



21 




BADGEii Hair Blender 
OR Softener. 





Piped Maple Over- (or Top-) 
Grainer. 



22 



AMERICAN GRAINERS HAND-BOOK. 




Oak Over- (on Top-) 
Grainer. 




Steel 
(tratnino Oomb 




Camel Hair (.^r^i"r]:i!, Foit 
Maple Graining. 



Pa^e 2k 




LigM Oalc,Yeiiied(or Sap )Work 



LIGHT OAK GKAINING. 25 



CHAPTEE V. 



LIGHT OAK GKAINING. 



The gi'ouud color recomiiiended. for the imitation of Light 
Oak is produced by the use of White Lead and pure Eaw 
ItaHan Sienna. Golden Ochre will do in place of Sienna, hut 
does not produce so clear an'd soft a tint. The too common 
use of Chrome Yellow is deprecated, for the reason that the 
general tendency is to make light oak grained work, too 
yellow. It will be seen by studying the natural wood, that 
it reflects, mainly, none of the Chrome Yellow tone. The 
yellow observable in finished oak furniture, is derived in a 
great measure from the successive coats of varnish used in 
the finishing process. 

The opinion ol)tains among professional grainers that 
the (jraiidru/ color should be mixed with special reference 
to the ground. This is true in a measure ; but has not so 
much significance as is generally ascribed to it. In fact the 
graining color is less important than the ground work, as a 
fair job of both light and dark oak may be performed with 
the dark oak graining color, sup^^osing the ground to be suit- 
able in either case. In making a ground color with White 
Lead and Eaw Sienna, care must be taken to procure the 
true Italian article, as the so-called American substitute Avill 
give a muddy color, quite unlike what is required to secui'e a 
good job. 



26 AMERICAN GEAINERS' HAND-BOOK. 

The beginner will not be led away with the flattering 
thought that his first attempt — however gratifying to his own 
self-love — will result in a very close imitation of the wood, 
which he will probably caricature rather than copy. The 
lights Avhich he will wipe out, will stare stiffly at him when he 
steps back to indulge in a look at his handiwork, and the 
shades will frown as if in mockery of his maiden effort ; but 
patient labor and striving for success will overcome most ob- 
stacles, and the smallest amount of merit never goes wholly 
unrewarded. The study for the learner, is not to copy at 
first, the natural wood ; but, the examples of some first-class 
artist in this line. Mannerism should be avoided, and a 
habit of putting in always, the same kind and show of work 
in certain places, as some do. Let there be the greatest vari- 
ety consistent with good taste. Violent contrasts are to be 
avoided. The same general tone of color will be preserved 
throughout. It will not do to have one panel on a door dark, 
the others being light. True, this might happen in a door of 
natural wood, but it would not be desirable. 

Preferring to remarks on page 18 concerning the preparation 
of the work for the reception of color, and supj^osiug the 
ground work to exhibit the proper tint, and supposing the 
learner to have supplied himself with a can of ready-made 
graining color, he is instructed to take therefrom whatever 
quantity may be required to do the work in hand, covering 
the remaining color Tvith turpentine to keep it fresh, and 
covering the can to exclude the dust and to prevent the 
evaporation of the turpentine. That portion of the color in- 
tended for immediate use must be thinned with oil and tur- 
pentine to a proper consistency, which will be ascertained by 
trying it on the Avork. A portion of boiled oil will be required 
in the thinning, l)ut only so much as may be necessary to hold 
the color back from drying too quickly. Except to secure 
this, there is no advantage to be gained in using it. The 



LIGHT OAK GIIAINING. 27 

work will not be any more durable because of the use of an 
undue proportion of oil in the thinning, and the yarnish coat 
will be decidedly better on a surface without gloss. Ordina- 
rily, graining color is mixed with reference to drying, so as to 
])e ready on the following day for the glazing coat. If it be 
desirable, to grain and glaze and yarnish on the same day, it 
may he done by the use of Japan gold size, or good Japan 
dryer ; but as much of the Japan in market now, is made 
without shellac, its use is not adyised, except in cases where 
the operator is assured of its quality and genuineness. 

The beginner or learner will at first fall into the error of 
mixing his graining color too thick ; that is, he will use too 
little thinning ; but, as this is most easily remedied, it is pre- 
ferable to the other extreme. The quantity of color required 
for one side of a door is almost infinitesimal. Too much 
color will make the work look muddy and sloyenly. It is 
common to rub in all the panels and panel mouldings before 
proceeding to put in the work, as the color wipes out better 
after it has set a little. If the color be quick drying, howeyer, 
care must l)e taken not to rub in too much at once, because in 
such case the work will not comb well or wipe out cleanly. 
It will work '^ claggy," to use a grainer's expression. That 
portion of the surface which is to receiye the " yeins " or 
" sap " — which terms will be used when reference is made to 
that kind of Avork shown in example No. 1, on page 24 — must 
not ])e combed until after the work is put in ; Avliile that kind 
of work called " dapples " — as shown in example No. 2, on 
page oO — requu-es the combing to be done before the wiping 
out of the lights. 

It will l)e obseryed that the " technical " or trade terms 
used throughout this Avork are those in common use among 
English grainers, for the reason that most of the best Avork- 
men in this line are Englishmen, who haye brought AAdth 
them to this country the knowledge and skill acquired on the 



28 AMERICAN GEAINEES' HAND-BOOK. 

other side, where a rigid system of apprenticeship, renders 
good Avorkmen much more possible than with ns. The laxity 
of our system, or rather lack of system of apprenticeship, is a 
bar in the way of turning out really finished workmen in 
almost any of the trades. 

Allusion has already been made to the difficulties in the 
way of teaching, by ineans of written words, any branch of 
art, a knowledge of which must, after all is said, really be 
acquired through the perceptive faculties. An hour of 
practical demonstration would be better than a volume of 
written instructions ! To lead the half-taught learner towi4i'd 
perfection were comparatively easy ! But to teach a language 
that has no alphaljet and no grammar, may perhaps prove 
more fruitless than the writer even, anticipates. With a 
view to the fullest elucidation of the process, and, to make it, 
if possible, comprehensible to the greatest novice — to him 
Avho has never seen a job of graining performed — it is pro- 
posed to begin with the " rubbing in," that is, applying the 
graining color with a brush, and continue the operation, in 
regular order of procedure, to its completion. 

The tools necessar}^ in the first stage of the work are sim- 
ply, a moderately stiff brush or sash tool for putting on the 
color, a dry paint brush or jDainter's duster for cleaning up 
the corners, moulds and beads — sui:>posing too much color 
may have adhered thereto — a soft, clean worn cotton rag for 
wiping out, and a set of combs for the combing. These com- 
prise all which are really required for the first operation. In 
practice, the term " rubbing in " will be better understood ; 
the performance being much more like rubbing the color into 
the ground-work, than like painting in the ordinary accepta- 
tion of the word. 

All preliminaries being completed, it is now supposed 
that the door, that being the subject to operate upon, is 
ready with its well sand-papered coat of pale straw ground. 






•^ 



Page 30. 




iagJit Oak, Dapples 



LIGHT OAK GRAINING. 31 

for tlie reception of the coat of oil graining color. This 
must be rubbed in with the paint brush so as to present 
an uniform surface. The beads, moulds and corners should 
be stippled with the bristle ends of a dry brush so as not to 
look dirty and muddy, as they surely will appear if not prop- 
erly cleaned up. Too much color on any part of the door 
will make it look "blotchy" when finished. Care must be 
taken to have the color evenly distributed. In oak graining 
it will be remembered the grain is shown, not by adding a 
darker color, but by " wiping out," so as to leave the ground- 
work clean, the color which remains representing the darker 
portion of the wood. 

The panels will first receive attention, and it is advised as 
a rule, to show on them such work as that in example No. 2. 
There will be space enough on the rails and stiles, to show 
the veined work, and much elaboration is not recommended 
ordinarily. The corresponding panels must be similar in 
character of graining, and all shoidd present the same gen- 
eral appearance. The fact must l:>e well understood, that 
clean work, with simple straight combing, is much more 
respectable and workmanhke, than an abortive attempt at 
display. Almost any man who knows the two ends of a 
paint brush, may with proper gi'ound and graining colors, 
turn off a job of grained work, which will not offend good 
taste, even though it be not a very creditable imitation of the 
natural wood. 

Supposing the panels are to be grained as has been sug- 
gested, the first proceeding in order after the application of 
the color, is to wipe oft' a part of it in streaks from top to 
bottom with a rag held loosely in his fingers so as not to wipe 
the wood clean ; then to comb each in its turn with one of 
the fine combs lengthwise, repeatmg the operation in a 
similar manner with a comb still finer than that used in the 
first combing. 



82 AMERICAN GKAINEES' HAND-BOOK. 

To this point the process will have been simply mechan- 
ical ; and such work may be performed by any house painter 
who can paint a door with plain color in a workmanlike 
manner. Now it ceases to be mechanical, and becomes a 
branch of fine art. 

The taking out of the hghts is done by covering the thumb 
with a piece of cotton rag, and the thumb-nail becomes at 
once the most important and useful tool required in the 
operation. The broader lights will be wiped out with the 
fleshy part of the finger, and the finer lines with the covered 
nail of that most useful niend:)er, wdiich performs so import- 
ant a part, that we can hardly imagine a good grainer without 
at least one thumb. 

(The horn tool sometimes used for taking out the lights 
will be described hereafter. ) 

That portion of the rag which covers the thumb will, of 
course, soon become saturated with color, and so will cease 
to be effective in wiping cleanly. This necessitates the con- 
stant uncovering of the thumb, and the recovering it with a 
clean portion of the rag. When the whole of the rag shall 
become saturated with color, it must l)e thrown aside, and 
its place supplied with a clean piece. 

The first attempt will not, probably, prove very satisfac- 
tory, and the beginner will learn — if he learn nothing more — 
how difficult it is to perform what, at first sight, appears 
so easy and simple. In spite of his best efforts the lights 
will not resemble the dapples in the natural wood ; but, as 
practice only makes perfect, so perseverance only will deserve 
success. If his first effort shall suggest to the beholder any- 
thing better than quail- tracks and blotches, he -may congi^atu- 
late himself on his performance. 

Supposing the panels to be finished " for better for worse," 
the mouldings ^\i\\ be combed plainly, and the middle rail, 
Avith the center top and bottom stiles, will come next in 



LIGHT OAK GILMNING. B3 

order. These ixvc iisuully selected for the gi-eatest display of 
work. The color will be first apx>lied to the middle stiles, 
leaving the middle and top and l)ott()m rnils to be riil)bfd in 
each in turn as the work proceeds. The two middle stiles 
^^ill be finished before putthig the work into the middle or 
broad rail. The color may be rubl)ed into the top and bottom 
rails at same time as on the broad rail. In this order of 
procedure no care will be necessary in wiping the joints, and 
the color may lap oyer on the parts not rubbed in, to l^e cut 
off at the joints in the finishing stiles or rails, as the case 
may be. 

The necessity of keeping each piece composing the door 
distmct, and treating each by itself, will be obyious to the 
gTeatest noyice in the art of graining. 

The work of wiping out with the rag, will be contiiuied in 
the sap, or yeined portion, no longer than is actually neces- 
sary, as whateyer can be done with the coarse comb, will be a 
clear sa^dng oi time ; and the operator will see, l)y looking at 
the examples, what parts were wiped out, and what done with 
the comb. In the sap or yeined portion of the w^ork, the 
combmg mil foUow the wiping out, and not precede it, as was 
the case with the panels. The top and bottom rails will 
usually be finished plainly : that is, with coarse combing, 
but not of necessity straight grain. The outer stiles can be 
heayier and coarser than other parts, and this will finish the 
work so far as oil coat is concerned. 

The oil graining color is now set aside, and the job left to 
dry, to be ready for the glazing coat, w^hich should be done in 
water-color, supposing the intention be to yarnish at once. 
Some grainers glaze with a portion of the same color as was 
used for the first coat, but the use of water-color is strongly 
adyised. Supposing this oil coat to be well dried, a light 
rubbing oyer with a worn piece of fine sand-paper is recom- 
mended before the glazing. Colors ground in w^ater, and put 



34 AMERICAN GRAINEIIS' HAND-BOOK. 

up in mde-montlied bottles, are now obtainable in the color 
slioj)S, and are more convenient and economical than the 
same materials prepared in the paint shop. The ^oroper glaz- 
ing color for light oak is made with Eaw Sienna, Burnt Sienna 
and Yandyke Brown, in such proportions as shall be found 
best in practice, and the color must be used very thin, and 
the quantity used must be very small. The operation of 
glazing is most important, as a good job may be spoiled by 
unskillful manipulation in this process, as a poor job may be 
redeemed, in a measure, by skillful handling in the glazing 
coat. 

Much may be done in this process, in the way of remedy- 
ing any defect in the ground, supposing it shall be found, in 
finishing, not to have been just what was required — that is, a 
yellower color may be imparted by using more of the Eaw 
Sienna in the glazing color, supposing a more yellow tone 
be desirable, or a too yellow ground may be concealed by 
using more of the Burnt Sienna and Yandyke Brown. The 
color should not be thinned at once, as was the color for its 
oil coat, but should be placed on a palette or a piece of 
board, and thinned by dipping the brush in water as the work 
proceeds. This is necessary from the fact that in some parts, 
as with panels, a very thin, light coat of glazing will serve, 
while on the mouldings, and around the knots, and in the 
" sap " work, a much thicker coat will be necessary. 

The brushes required for this part of the operation, are a 
top, or over-grainer, and badger blender, as shown on pages 21 
and 22, and a common pocket comb. The water-color must be 
rul)bed in with a stiff bristle l:)rush, and softened with the 
blender, so as not to show any streaks or brush marks. But one 
panel should be rubbed in at a time, as the thin coat of water- 
color dries almost as fast as it can be applied. The top grain, 
which is almost inappreciable, will he put in with the over- 
grainer, which must, after being dipped in very thin color, be 



LIGHT OAK (UIAINING. 85 

combed witli tlie pocket comb, so as to separate the bristles 
into groups, wliicli shall stand apart from each other, forming, 
as it were, a series of parallel small, thin brushes. The over- 
grainer, in this shape, Avill be passed lightly fi'om top to 
bottom of the panels, after which the blender must be used to 
soften the harsh lines and give indistinctness to the grain. 
Great care is necessary in this operation, not to apply too 
much color, or the effect will be strealdness rather than the 
almost imperceptible grain requu-ed. The glazing or shading 
must be continued on the rails and stiles, as may be required 
by the character of the work. These should be darker than 
the panels, and the moulding should be more deeply shaded 
than the rails and stiles. The glowing lights around the 
knots are wiped out of the glazing color, and delicately soft- 
ened with the l)lender. This brings the work up to varnish- 
ing, Avhich will be treated in a separate chapter, and the utter 
impossibility of giving anything like a clear conception of this 
operation of glazing, by means of verbal teaching, would seem 
to preclude the necessity of any further words upon the 
subject. Enough to say, in conclusion, that it is to graining 
Avhat light and shade are to the higher branches of the art of 
painting. It gives depth, and tone, and glow, and transpa- 
renc}', and, more than any part of the process, requires the 
possession and development of those faculties which distin- 
guish the artist from the mere mechanic. 

The object selected for the operation described, was 
chosen for the reason that the greatest amount of work is 
usually done on doors, and a workman who can make a good 
job on this, will hnd no difficulty in executmg whatever kind 
of wood- work may come under his hand. In wamscoting, or 
side-walls, composed of narrow-tongued and grooved boards 
of equal width, the custom is to put in less work, and to sIioav 
a greater uniformity than is shoAvn in the separate pieces 
composing a door. Coarse and fine combmg, with here and 



36 AMERICAN GllAINERS' HAND-BOOK. 

tliere a strip showing dapples and sap-work, is the usual mode 
of giving variety to the strips composing the w all or wainscot, 
as the case mav be. The glazing coat, however, is mostly 
relied on to give distinctness and variety to the work. Some 
of the strips wdll be left without glazing, while others wdll be 
glazed more or less dark, as taste and fancy may dictate. As 
a rule the boards or strips alternate with quite a degree of 
regularity, a darker shade between two light ones. This 
gives a much better eliect than to have a group of dark ones 
followed by a group of lighter ones, or than an occasional 
dark strip in a group of hgliter ones. A good effect is pro- 
duced (^n doors and other paneled work, by putting in the 
panels very light oak and the rails and stiles very dark red 
oak, the mouldings being in any case darker than the rails 
and stiles. The moulding, if not too deep and heavy, may 
be painted Avith Coach Black, l)efore varnishing, vdth a gold 
stripe in the inner Hat portion of the same. This gold stripe 
makes a very good contrast with the light oak panel, iind sets 
off' the black better than anything else. This Avork, how^ever, 
requires a skillful hand, and is not recommended for novices. 

A summary of the foregoing instructions may prove useful 
to some readers who may not have seen a job of graining 
performed, and w-e propose to give, in l^rief, an outHne of the 
processes in the order in which they usually occur. 

The first requisite is a hard, well sand-papered surface, 
with a properly colored ground. 

The tools required are a paint brush, for rulilung in the 
graining color ; a set of steel gTaining combs ; a painter's 
duster or other dry bristle biaish, and a rag, to wipe out the 
hghts. 

Next in order is the graining color, and the ready-made 
colors are recommended for all, — especially for beginners. 
It may be well to state here, that all graining colors are com- 
pounded of llaA'.' and Burnt Italian KSieniia, Kaw and Burnt 



LIGHT OAK GKAINING. 37 

Turkey Umber, Vandyke Brown and Drop Black, in varied 
proportions according to the requirements of the occasion. It 
is impossible to give the due proportions, for the reason that 
these materials, found usually in the paint shops, vary so 
much in strength, quahty, fineness and consistency. 

The tools and materials being provided, the next in order 
of proceeding is the thinning of the color. This can be 
properly learned only by practice. As a rule, unpracticed 
hands put on too much color. Use boiled oil and turpentine, 
and no more oil than is necessary to keep the color from 
setting too quickly. If the needs of the occasion require the 
color to dry very rapidly, use a small quantity of good Brown 
Japan or Gold Size. 

Kub in the graining color with a moderately stiff brush. 
In dajDpled work comb the surface before taking out the lights. 
In sap or veined work comb after wiping out. When a stile 
crosses a rail, the rail being dark and full of work, the stile at 
the joint or line of contact should show plain combing, and be 
of lighter color, to contrast with its darker neighbor. This is 
a good general rule for all oak graining. The oil coat should 
stand over night to dry. Before glazing, rub the oil coat 
lightly with a piece of fine, worn sand-paper. Use water-color 
for the glazing, for the reason, if for no other, that no time 
must necessarily elapse before varnishing. Kaw and Burnt 
Sienna and Vandyke Brown, in varying proportions, make 
the proper glazing for both light and dark oak. The tools 
required in glazing, are a water-color brush, a badger blender, 
a top or over-grainer, and a rag. 

Judgment, taste, skiU and practice are indispensable pre- 
requisites to a good job of gramed work. 

The before-mentioned horn tool, for taking out the lights 
in dappled work, is simply a straight piece of horn about an 
inch wide and as thick as a nickel five cent piece. The end, 
slightly rounded, must be beveled on both sides to a sharp 



38 AMERICAN GKAINEES' HAND-BOOK. 

edge, and kept sharp by rubbing it on a piece of sand-paper, 
as a carpenter sharpens a tool with a whetstone. The hand 
not hokling the tool must carry a piece of rag, as the horn 
requires wiping after every application of it to the painted 
surface. The blade of a horn spatula, such as are connnon in 
every apothecaries' shop, offers the readiest means of provid- 
ing one's seK with such a tool as is above described. The 
ground coat must be well dried, on which the horn is used ; 
otherwise it will be cut up by the sharp edge of the tool. 

The two examples of light oak graining, shown in this 
chapter, are not given as specimens of either the lightest or 
darkest tones of color, which the natural finished wood pre- 
sents. For inside work a lighter color would be preferred, 
and for outside work, such as doors and vestibules, a some- 
what darker tone. The custom, however, obtains in the cities 
of New York and Brooklyn, of finishing such portions of 
domestic architecture as those just named, either in very 
dark oak or black walnut imitations. 

The examples given herein, both of ground tints and 
grainmg, are not presented dogmatically, but rather sugges- 
tively, as worthy of imitation by those who have no know- 
ledge or idea of anything better ; and these words are not 
for those who are skilled in the art, but for the unlearned — 
the iminitiated. Not to him who is able to be a teacher, but 
to him who is desirous of receiving instruction. As a fine art, 
graining becomes subject to the rules which govern art gen- 
erally, if it be admitted that true art has lines and bounds ; and, 
paradoxical as the utterance may seem, there is no hesitation 
in declaring that the best efforts, or attainments in this line, 
are not those which most closely resemble the natural wood. 

The ground-work shown on the succeeding page is sup- 
posed to be light enough for any of the following named woods, 
and we propose to exhibit only this as a proper ground for 
them all, viz : Light Oak, Maple, Satin wood and Ash. 



DAliK OAK GRAINING COLOR. 41 



CHAPTEE YT, 



DARK OAK GRAINING COLOR. 



There is not a word to be said instructively under this 
heading, ^vhich has not been fully given in the foregoing- 
chapter. With the exception of the different ground and 
graining color, every Avord used in describmg the process in 
light oak graming has equal significance in this. The ex- 
amples which are presented with this, one of veined or sap 
work preceding the chapter, and the dappled work following, 
will be adjudged by many professed grainers as showing too 
much of the red. As this is a matter wherein every one may 
indulge his taste or fancy without loss or cost, we have pur- 
posely presented the reddest samples, and would suggest to 
the reader that he may choose wherever he will l^etween the 
two extremes of light oak and dark oak. 

The ground for these illustrations is made of pure White 
Lead, Golden Ochre and Eoyal Eed. Deep Orange Chrome in 
place of Golden Ochre is sometimes used for ground for dark 
oak, when a very bright tone is desired. The graining color 
is composed of the same materials as the graming color for 
light oak, viz : Burnt Sienna, Eaw Sienna and Vandyke 
Brown, differing only in proportion. 

The reader, he who woidd l)ecome a grainer, or he who 
would add to his stock of already acquired knowledge, 
must not suppose because of his having the names of the 
materials required to make a graining color, that he has 



42 



AMERICAN GRAINERS' HAND-BOOK. 



only to procure a can of eacli of these at the shops, and pro- 
ceed forthwith to make what is demanded, both in tone and 
workmg quahty. Unfortunately the chances are decidedly 
against him, and he will, in a majority of cases, get what he 
does not Avant, rather than what he does want. It is a lament- 
able fact, that the ground colors offered for sale throughout 
the country, are not, as a rule, what they purport to be. 

The bulk of the so-called Eaw Sienna is little better, if any, 
than commonest Yellow Ochre ; the Burnt Sienna is hardly 
better than Venetian Eed, while the Yandyke Brown is com- 
posed of what? "Nor gods nor man can tell!" Now to re- 
quire a workman to make a good job of graining with such 
materials is quite as unreasonable as was the requisition on 
the part of the Egyptians that the captive children of Israel 
should make bricks without straw. 

As a rule, dealers in paints buy ground colors bearing the 
names of the required articles, without regard to quality : 
that is, they purchase what they can buy most cheaply and sell 
most dearly, and it rests with the consumer to demand and 
receive that which he knows to be good, or at least that which 
has a good reputation. In view of the fact that the most 
skillful and experienced painter cannot do a job of plain 
painting, well, without good materials and tools, all will see 
the utter importance of the best materials to the unpracticed 
hand or the novice. 

Calling attention to example on page 43, we w^ould say, 
there are many little arts and devices which the skillful 
grainer almost instinctively makes use of, which must be seen 
to be appreciated — which cannot be signified in words. It is as 
impossible to embody these in words, so that they would be 
comprehensible to the senses, as to describe, by verbal signs, 
the delicate manipulation whereby the artist causes the sense- 
less canvass to almost glow and breathe under his inspired 
touch. 



Page 43 




Dark Oak. Sap (or Vemed)Work 



DARK OAK GEAINING COLOR. 45 

The flash lights, which seem to come Hke opalescent gleams 
from far below the surface, are the most superficial of all the 
colors, being wiped out of the glazing or shading coat. 

It would be pleasant to tell so plainly, just how and where 
these flashes should appear, and the mode of producing them, 
that the uninitiated could go at once and do hkewise ; but as 
this would be an impossible task, we present w^hat few illus- 
trations are possible in a book of this contracted volume and 
low price, suggesting that higher reaches and attainments 
than these are to be arrived at only through patient study and 
much practice. 

It has been said before in these pages, that hardly two 
professed grainers will agree as to the exact tone for ground 
for any one of the fancy or colored woods. In many, perhaps 
most cases, this fastidiousness comes more from willfulness, 
stubbornness or vain conceit, than from reason. A grainer 
must indeed be weak in resources, who cannot do a fair job of 
graining on any ground, supposing the same to be Hght enough 
and not decidedly off color. Many of our professed grainers 
are real artists, and execute with true artistic fervor ; while 
too many, alas ! are thoroughly mechanical, and among these 
latter will be found, those who are most captious and fastid- 
ious as to tints of ground and color. 

The sample on page 49 is offered as a proper color for 
dark oak ground. 



46 AMEEICAN GRAINERS' HAND-BOOK. 



COLOE HARMONY IN GRAINED WORK. 

There are some who will read this book, no doubt, whose 
knowledge of Color Harmony has not been improved, either 
by study or practice ; and all readers may perhaps be bene- 
fited by a few words on this most important subject. It 
is unquestionably essential that every painter should know 
what plain colors and tints may be used in harmonious con- 
trasts or combinations with the various painted imitations of 
fancy woods. Green is entirely unobjectionable, indeed, it 
forms a most pleasing contrast with Light Oak, Satin-wood, 
Birds' s-eye Maple, Chestnut and Ash — but discords with 
Mahogany, Black Walnut and Kosewood. Blue is entirely 
harmonious with all these latter. Black harmonizes with all the 
Avoods as does white ; Init white with the lighter colored ones is 
feeble and wanting. All the woods harmonize with each 
other except Black "Walnut with Mahogany and Rosewood. 
Gold is good with all, but the contrast with the light-colored 
ones is not so brilliant as with the dark- toned woods. The 
bright colors in these, deaden the usually dull tones of 
Black Walnut and detract from it thereby ; Avhereas the con- 
trast with the latter named wood, with the light colored ones, 
improves and brightens all the contrasting tints and shades. 

Light and Dark Oak are best shown by themselves in con- 
trast with each other, being too coarse in the grain to exhibit 
with good effect in combination with Maple and Satin-wood. 

In Color Harmony, generally, white and black harmonize 
with all colors but green. Gold is good with every color, shade 
and tint, but especially rich with green, black, purple, carmine 
and blue. 



Page 47 




Dark Oak, Dapples 



\)i\ I U ( Ki k Oroh I 



BLACK WALNUT GRAINING. 51 



CHAPTEE YII. 



BLACK WALNUT GKAINING. 



This wood — now so common in every lionseliolcl, so ex- 
tensively used, in doors, wainscoting and furniture of every 
description— lias become the vioch, within the last ten or 
fifteen years. Previously it was held in shght estimation, 
was used only -for very common purposes, and no one 
dreamed that this cheap and common domestic tree would 
become the successful rival of the aristocratic rosewood and 
mahogany. 

In Black Walnut graining no two workmen seem to agTee 
as to vdiat the prevailing tone should be. The wood itself 
presents so great a variety of tones and shades, that when 
the mind seems about to accept a certain shade as the best 
imitation of the natural wood, a sample presents itself which 
upsets all XDreconceived notions, and the inquirer finds him- 
self " all at sea again." The general tone of tlie wood, as 
seen before being worked, is a blackish brown, and the 
beholder would hardly suspect the presence of a rich red 
undertone, almost as bright as the glowing red of mahogany. 
Yet such is the case, and in almost any large piece of furni- 
ture some parts will show a decidedly reddish ground. This 
red glows out from underneath the brown surface, and can- 
not successfully be shown in the gTaining color. It must 
therefore be provided for in the gromid-work, which should 
l)e sufficiently red to represent those pieces of the wood 
which exhibit the reddest tones of color. 



52 AMERICAN GllAINERS' HAND-BOOK. 

Black Walnut is imitated on every variety of colored 
ground, from straw color to drab. We suggest, as the most 
proper tone for imitating tliis popular wood, a ground-work 
made of White Lead, with Golden Ochre and Koyal Eed and 
Black, like example shown on page 61. The reader will bear 
in mind the fact that there exists in this case no difficulty in 
covering and concealing with the almost black graining color 
the ground-work, however bright it may be. So, it will be 
best to err on the side of a too bright ground, rather than 
one which is too dull to represent the brighter specimens of 
the natural wood. 

There can be no question as to the mode of painting 
most proper for producing the best results in Black Walnut 
oraining. The Avood is what is called soft-grained, and does 
not present the sharp Hues and clear grain observable in 
h^dit and dark oak. Therefore it can be best imitated in dis- 
temper oraining ; but as this process is more difficult than oil 
graming, and requires more skill in successful mani})ulation, 
we shall treat it only incidentally, confining our teachings 
mainly to graming in oil. 

Supposing the ground-work to be of the right tmt, the 
next proceeding is to go over the work vnth. a coat of Van- 
dyke Brown, and Drop Black ground in water. All the colors 
used in graining may be obtained fi'om the dealer, ready 
ground in water, for less cost than would be involved in pre- 
paring the same in the paint-shop. 

This coat of water color, Avhile yet fresh, must be broken 
into grains by stippling Avitli a painter's duster or other dry 
bristle brush. For the information of those who are un- 
familiar with this Avord, or the operation Avhicli it signifies, 
Ave Avould remark that stippling is simply the pouncing of 
the Avhole surface Avitli the ends of the bristles composing a 
painter's duster or other brush. 

When this stippled coat of distemper color, so-called, 



Pa^e 




Black Wiilnut PencJled 



BLACK WALNUT GRAINING. 55 

lias become dry, the work will be ready for the application 
of the oil graining color. It is taken for granted that the 
workman will have supplied himself with a can of ready-made 
grainmg color, and that no mixing is required, except to thin 
with boiled oil, and turpentine in such proportions as prac- 
tice alone will teach properly. It need only be said in this 
connection that just enough of oil should be used to prevent 
the color from setting too quickly, when the intention is to 
wipe out the lights with a rag, after the manner of oak 
graining, which is not the mode we shall recommend. It 
^^dll be borne in mind that in Black Walnut graining the 
imitation is always darker than the natural wood, for the 
reason that wood of this kind used in domestic and other 
architecture, and also in furniture, is usually finished with 
some varnish or polish which stains, and deepens the tone. 
The effect of the varnish, too, is to bring out the red under- 
tone, Avhich is not observable in the new, unpolished or un- 
varnished surface. 

The oil graining color, thinned to proper consistency for 
application to the distemper or water color, ma}^ be rubbed 
into each panel or other piece successively, and finished be- 
fore rubbing in any more ; or if the color be slow, the whole 
door-side may be rubbed in before putting in the veins. The^ 
panels and pieces composing the door must be treated, in one 
sense, individually, and in another, collectively. That is, each 
must have its individual character, but not without reference 
to the work as a whole. AVith whatever of variety, there must 
be a certain uniformity. 

That portion of the surface of the work which has been 
rubbed in with the graining color, is ready for what we are 
pleased to call the hand of the artist. The oil graining color 
may be left to set a little before proceeding with the work of 
puttmg in the veins and figures. There are two modes of 
doing this. One is to wipe out the lights, as in oak graining, 



56 



AMEKICAN CtRAINEKS HAND-BOOK. 



the other, to put m the darker veins with a sable or camel-hair 
pencil. The former mode is not reconnnended, for the reason 
that the darker veins cover so small a proportion of the sur- 
face, that wiping out the hghts is to wipe off nearly all the 
color which has been appHed. The example on page 58 will 
convey the idea better than it can l)e done with words. 
There, may be seen the veins put in with a sable j^encil, 
the same graining color being used as for the oil coat, 
thicker, of course, and consequently less transparent. As 
these veins are put in, they should be softened mth the 
badger blender, the proper manipulation of which comes 
easy after a little practice. This portion of the work re- 
quires not only more time, l)ut more skill, than any other, 
and with the glazing and shading is really that part of the 
operation which demands a cunning hand and a practiced 
eye. 

After applying the coat of oil graining color, it is common 
to wipe with a rag some of the color from the work from top 
to bottom of rail or panel, as the case ma}- be, to give variety 
and a more woody appearance to the job in hand. If it were 
possible to tell just Avhen and where this should be done, the 
writer's task would be comparatively easy ; but this know- 
ledge will come only through close observation of the natural 
wood, or the work of some accomplished grainer. Much of 
the gi'aining, even in the best jobs, will of course be done 
plainly and quickl}'. A painter's duster or other brash, 
drawn lengtliAvise of the rail or stile, or diagonally across the 
same, and softened Avith the blender, will ho all-sufficient to 
make a good enough imitation for a considerable portion of 
the work. Care must be taken not to elaborate the job too 
much, or it will look hnical, petty, inartistic. Too much 
plainness, on the other hand, will give the work a careless, 
slovenly, unworkmanlike character. It is important that 
proper care be taken as to the joints ; each separate piece 



1 



Page 5Z 




Black Walnut. Wiped Out 



BLACK WALNUT CtRAININPt. 59 

of wood must be slio-wn by and for itseK. The graining 
on the stiles of a door must not lap over the rails, but go 
cleanly and sharply along the joint lines. The oil coat w411 
be left to dry over night or a day or two, as may be con- 
venient, before the glazing coat, which will be water color, 
composed of Vandyke Brown and Drop Black. The mode of 
procedure in the finishing operation will be the same as 
described under the caption of Light Oak Graining. 

The water color will be rubbed in one panel or piece at a 
time, and stippled with a dry brush, and blended with the 
badger hair softener, more or less color being applied as the 
nature of the work may require. It will be observed that 
there is a much greater uniformity of tone in Black Walnut 
than in either light or dark oak, this wood being singularly 
free fi-om knots and gnarled places or spots. The use of the 
comb may be entirely dispensed with in Black Walnut grain- 
ing. Mouldings and carved work must always be glazed, so 
as to show darker than the surrounding surface. The to23 or 
over-grainer may be used for putting in the veins on straight • 
work, as rails and stiles of doors and wainscoting, with a | 
view to economy of time ; but to make good work with it, j 
requires a practiced hand. 

A bit of sponge is a useful article in all kinds of water 
color graining and glazing. 

A summary of the foregoing directions for graining Black 
Walnut shows as follows : 

A ground color, made of -piiYe White Lead, Orange Chrome 
Yellowy or Golden Ochre and Royal Red and Black. 

A stippled coat of water color, composed of Vandyke 
Brown and Drop Black. 

Oil graining color, composed of Vandyke Brown, Burnt 
Sienna, Burnt Umber and Drop Black. Ready-made graining 
colors are recommended as best and cheapest. 

The oil color may be applied as soon as the stippled coat 



60 AMERICAN GRAINERS HAND-BOOK. 

of water color is dry. The veins are put in with a pencil on 
the fresh oil coat, and blended to soften and give them in- 
distinctness. 

When the oil coat is dry, it should be Hglitly rubbed with 
worn fine sand-paper and a glazing coat of water color, mixed 
the same as for first stippled coat, should be apphed. This 
must also be stippled, and softened with the blender. 

Let the gTound color be light enough to show the lightest 
specimens of the wood, trusting to a greater depth of color 
to represent the darker pieces. 

When a large surface is to be grained cheaply, employ a 
large paint-brush for rubbing in, and an eight-inch kalsomine 
brush for stipphng, using the Hat side of the bristles, and not 
the ends, thereof. 

For glazing, water is always better than beer as a thinner, 
Avhenever it will hold the color, as beer has a bad effect on 
the first coat of varnish. 

The sample on page 53 shows Black W^ahiut graining, with 
the veins put in with a pencil, while that on page 57 shows 
the wiping out process as practiced in oak graining, the 
ground and gi-aining colors being the same in both instances. 

A job of Black Walnut graining may be finished in one 
day by the free use of Japan or Gold Size in the oil coat. 

If the work is to be finished without varnish, the glazing 
coat must be of oil graining color. 

For gi'ound-work color for Black Walnut see page 61. 



Pa^r r.i 




Black Walnut. (Iron iid 



ASH GRAINING. 



63 



CHAPTEE YIII. 



ASH GRAINING. 

Until within a few years there has been no demand for 
painted imitations of this very useful and in some of its 
presentations beautiful wood. 

It has of late, more and more, come into use in the interior 
finish of railroad cars and carriages, and of houses and domi- 
ciles. The latter named fact has consequently, created a 
demand for the painted imitation of this wood, in cases 
where the use of the natural wood from whatever cause was 
not deemed expedient. 

The question as to the economy of natural wood, against 
painted imitations of the same, will probably remain for a long 
time unanswered. First cost, with the great majority of 
house owners, who have the bills to pay, is of prime impor- 
tance. A domicile constructed of soft pine wood, may be left 
for a time unpainted without any great detriment to comfort 
or to the health of the occupants, and painting will be in order 
at any time subsequent to occupation, whenever the T\dshes 
and disposition of the occupants may be in accord with the 
saved up money wherewith to pay the painter's bill. 

Graining or grained work is of all the various styles of paint- 
ing the most economical, because such work, properly per- 
formed, mil last an indefinite period and stand the washings 
and wipings and house cleanings to which interior painting 



y 



64 AMERICAN GRAINERS' HAND-BOOK. 

must necessarily be exposed — witliout l^ecoming spoiled or 
damaged. Plain colors could be as surely and well protected 
as grained work b}^ coats of varnisli : but tlie varnisli would 
discolor tlie tints unless tliey should be quite dark, and plain 
colors, such as would be suitable for linishing the interior 
wood-work of a dwelling house, would not look well or be in 
accordance with good taste if finished witli a varnished 
surface. 

Ash wood, being cheaper and more easily worked than 
oak, is frequently used as a substitute for the latter, which 
more than any other woody growth it closely resembles. 
Indeed there are many not unaccustomed to familiarity with 
furniture and other joined work, who cannot always dis- 
tinguish between these two woods. 

Ash, may be imitated on the same ground color as that 
shown on page 39, and all the instructions given for light 
oak graining may be followed, the same as if they were 
written especially for this, excepting that the dapples which 
give such an agreeable diversity to oak wood are entirely 
wanting in ash. 

The work for Ash Graining has the same colored ground, 
undergoes the same preparation, and the same process of 
^\dping out and combing to show the veins and grain. 

It would seem that no further directions or instructions 
can l:>e given as to the best method of proceeding to obtain a 
good imitation of this wood. 

The painter is advised not to attempt to make his OAvn 
Ash graining color, if it be possible for him to obtain a can of 
ready-made color, for the reason that he will experience 
great difficulty and spend a good deal of labor iji making 
that which he may obtain ready-made to his hand. 

The use of this wood is so common, and the American 
ash varies so little in its grain and tone of color, that the 
workman is advised to procure a piece of ash with a planed 



ASH GEAINING. 65 

surface, to fill up and yarnish the same, and to use it as an 
example for imitation. 

Tlie illustration shown on page 67 is done with ready-made 
graining color used on a ground similar to that shown on page 
39. The occurrence of knots in ash is not unfrequent, and 
the knots themselves are commonly very dark in contrast 
with the surrounding parts. These knots, with their accom- 
panying tints and complication and bright flash lights, give 
to the wood all those beautiful diversities which render this 
common material worthy of imitation. 

There is a species of this wood, called Hungarian ash, now 
in common use in the interior finish for passenger cars. 
This is applied wholly in the shape of veneers, and exhibits 
a wonderfully diversified grain, the same being beautifully 
and intricately curled and tinted. In tone of color, both in 
ground-work and grain, it does not differ from the common 
American growth. 



(36 AMERICAN GRAINEKS' HAND-BOOK. 

Test of the Purity of White Lead. 



Important to Painters, Architects, Builders, Dealers in and 
all Consumers of Paints. 



The followiiii? is an INFALLIBLE suul SL1IPLE C oiiiinercial Test of tlie Purity of 

>VhitP Load : 

Take a piece of firm, close-graiued charcoal, and near one end of it, scoop out a cavity 
about half an inch in diameter and a quarter of an inch in depth. Place in the cavity a 
sample of the Lead to be tested, about the size of a small pea, and apply to it continuously 
the blue or hotlcst part of the flame of the blow.pipe ; if the sample be fctrictly pure, it will in 
a very short time, say in two minutes, be reduced to Metallic Lead, leaving no residue ; but 
if it be adulterated, even to the extent of ten per cent, only, with oxide of zinc, sulphate of 
baryta, whiting or any other carbonate of lime, (which substances are now the only adulter, 
ations used,) or if it be composed entirely of these materials, as is sometimes the case with 
cheap lead, it cannot be reduced, but will remain on the charcoal an infusible mass. 

Dry White Lead (carbonate of Lead) is composed of metallic lead, oxygen and carbonic 
acid, and when ground with linseed oil forms the White Lead of commerce. When it is sub- 
jected to the above treatment, the oil is first burned oft', and then at a certain dertree of heat, 
the oxygen and carbonic acid are set free, leaving only the metallic lead from which it was 
manufactured. If, however, there be present in the sample any of the above mentioned 
adulterations, they cannot of course be reduced to metallic lead, and cannot be reduced by 
any heat of the blow-pipe flame to their own metallic bases ; and being intimately incorpor- 
ated and ground with the carbonate of lead, they prevent it from being reduced. 

It is well after blowing upon the sample, say half a minute, by which time the oil will be 
burned off, to loosen the sample from the charcoal, with a knife blade or spatula, in order 
that the flame may pass under as well as over and against it. With proper care the lead will 
ran into one button, instead of scattering over the charcoal, and this is the reason why the 
cavity above mentioned is necessary. A common star candle or a lard oil lamp furnishes the 
best flame for use of the blow-pipe ; a cord oil lamp should not be used. 

By the above test, after a little practice, so small an adulteration as one or two per cent, 
can be detected ; it is, however, only a test of the imrity or impurity of a lead, and if found 
adulterated, the degree of percentage of adulteration cannot be well ascertained by it. 

Jewelers usually have all the necessary apparatus for making the test, and any one of 
them can readily make it by observing the above directions, and from them can be obtained 
a blow-pii)e at small cost. 

If you have no open package of the lead to be tested, a sample can most easily be obtained 
by boring into the side or top of a keg with a gimlet, and with it taking out the required 
quantity ; care should be used to free it entirely from the borings or particles of wood, and 
it should not be larger than the size mentioned ; a larger quantity can be reduced, but of 

course more time will be required, and the experiment cannot be so neatly perl'ormed. 

-• 
Although the above description is necessarily somewhat lengthy, this test is really very 
simple, and any one can very soon learn to make it with ease and skill. 



Va^e C)7 



j^ 




^ 




Ash Oil Crrainiiig 



CHESTNUT GRAINING. 69 



CHAPTEE IX. 



CHESTNUT GEAINING. 



This chapter will finish our direct instniction for oil grain- 
ing, and will necessarily be brief, from the fact, that there is 
little to be said on this, that has not been already repeated 
under Light and Dark Oak, excepting the direction for making 
the ground and preparing the grainmg color. The writer 
confesses himself at loss to understand why any person should 
desire or require the imitation of this coarse and sickly- 
yellow looking w^ood ; but " every one to his taste," is perhaps 
a good motto, and we will not quarrel with the man who 
would even imitate spruce or hemlock, wdth grained work. 

The ground for Chestnut is decidedly more yellow than 
any which has been shown or described, and it would seem 
to require a glazing of yellow to make a really close imitation 
of the natural wood. White Lead mth Yellow Ochre and 
little Orange Chrome wdll give the best tint for ground-work, 
and for graining color Burnt Umber with a very little Van- 
dyke Brown and Burnt Sienna makes the best graining color. 
Beady-made Chestnut graining color can be procured at the 
shops, and its use is advised in preference to the making up 
of the color by the pamter. 

This wood is generally of very coarse grain, being of more 
rapid growth than any of the other so-called hard woods — 
while it presents a greater degree of sameness and want of 



70 AMERICAN GKAINEKS' HAND-BOOK. 

variety. It should be imitated by Aviping out after the 
manner of oak graining and the use of coarse combs. The 
best study is a piece of Chestnut board, planed and filled up 
and polished. We have never seen a grainer who took any 
particular pride in his ability to make a good imitation of this 
wood, and w^e cannot therefore recommend as copy for the 
beginner, specimens executed by any first-class workman. 

In view of the fact that the cost of imitating this cheap 
and common wood, is as great as is the cost of pamting in 
imitation of oak, black walnut or other woods which are worth 
imitating, the query still remains unanswered, why do people 
require painted imitations of this very ordinary and plain 
looking wood ? 



GRAINING ON UNPAINTED PINE WOOD SURFACES. 71 



CHAPTEK X. 

MASURY's NEW SYSTEM OF GRAINING ON UNPAINTED PINE 
WOOD SURFACES. 

The first work of tliis kind whicli ever came under the 
^Titer's notice was performed by himself, and he therefore 
reasonably concludes that the same will be a novelty to the 
trade. The peculiarity of this new manner of graining is the 
application of the graining colors directly to the unpainted 
Pine Wood surface. The tint of new white pine gives as good 
a ground-color for light oak gTaining as can be desired, at the 
same time not being objectionable — under the proposed mode 
of treatment — for dark oak and black walnut. 

The o]3eration consists simply in giving to the Avork one 
coat of glue size, and applying the graining color in the same 
manner, as heretofore described under the title of Light Oak 
Graining. 

In this method — referring to black walnut — the stippled 
coat of distemper color must be dispensed with and the oil 
color applied directly to the ground. 

To prepare the glue size, take a handful, more or less, as 
may be required, of ichite glue and throw the same into 
a clean pail or other vessel, cover with cold water and 
let stand over night. Next morning pour on boiling water, 
apply a moderate heat for a few minutes, and the whole will 
become thoroughly dissolved and homogeneous. Let this be 



72 AMERICAN GRAINEEB' HAND-BOOK. 

of strength siifficdent to bear out the graining color long 
enough to permit the combing and taking out of the lights, 
and also strong enough to cover the knots and resinous 
places, so that the varnish coat will not remove the graining 
color therefrom. A httle practice will make perfect in this 
respect. 

The graining color may have a greater proportion of oil 
than is recommended for graining on painted surfaces, as the 
wood will be — notwithstanding the coating of glue — more or 
less absorbent. It is advised to rub in and grain one panel 
or other piece, at a time ; at least, until the operator shall 
have learned by exjDerience how long the color will "bear 
out," without setting to that degree that it Avill not comb and 
wipe. As much gi^aining color — thinned with boiled oil and 
turpentine — should be used as possible, consistent with the 
proper tone of color for the light oak parts, for the reason, 
that the heavier the graining coat the better body will there 
be for receiving the varnish coat. 

For black walnut, the first application of graining color 
should be stippled, as is directed for the distemper color in 
ordinary black walnut graining ; and the veins put on the 
stippled coat when fresh, the blender being used to soften, as 
before described. 

The beginner will find it not difficult to trace the veins, 
which will show plainly through the color, and the practice 
will be good, for the reason, that tracing the natural veins will 
familiarize him with the shapes and directions which the 
grain takes on, in the growth of the timber. This applies not 
to oak, but to black walnut, the grain of which is not unlike 
that of White Pine. 

The first coat being well dried, should be rubbed lightly 
with fine worn sand-paper, and the glazing or shading coat 
may be either oil color, as was the first coat, or distemper, as 
in the ordinary wav. Oil is advised for the reason before 



GKAINING ON UNPAINTEI) TINE WOOD SURFACES. io 

gjyen — to make a better body for the yarnisli coat. It will 
be well to leave tlie work for a day or two before applying 
the varnish, which should be carriage, and not qnick, hard 
drying furniture varnish. Two coats of varnish are advised, 
as the extra wearing quality of the job will more than repay 
the cost of the second coat. 

It must not be supposed that work done in this way will 
present the finished appearance of grained work done on 
three or four coats of paint : but it enables the unskilled 
grainer to make a clean job at the least expenditure of time 
and money, and a job which will prove vastly more durable 
than the best job done in the ordinary waj^ because the color 
being ingrain with the wood, will not chip off and show the 
lighter ground work underneath the darker graining color. 
The system is not offered as the equivalent of, or as a substi- 
tute for, the best grained work as ordinarily performed ; but as 
a cheap and ready mode of producing a smooth and durable 
surface in houses where white and light tints are not specially 
required. The writer exhibits specimens of this style which 
pass among experts as good jobs of grained work, and many 
are slow to believe that it is done on an unpainted surface of 
common White Pine. In any event a trial AviU cost nothing, 
as in case the result shall not prove satisfactory, the color and 
varnish already applied will make a good foundation to paint 
upon. 



74 AMERICAN GRAINEKS HAND-BOOK. 



CHAPTEK XI. 



DISTEMPER GRAINING. 



This term " Distemper Graining" is imperfectly understood 
by most people who use it, and there seems to be a general 
disposition to look upon it as largely, if not wholly, insignifi- 
cant. Its proper definition is — a method of painting wherein 
some vehicle other than water or oil, is used for thinning the 
pigments. Its application, however, is to all kinds of grain- 
ing — and to that work only — where non-waterproof thinning, 
such as beer, alcohol, glue size, <tc., are employed in place of 
oil, varnish, or substances of like nature. 

Formerly, all imitations of wood and marble were done in 
Distemper, oil graining being of comparatively recent date. 
The advantage of Distemper Graining is, that no time (so to 
speak) need necessarily elapse between the putting in of the 
work and the varnish coat. 

For certain kinds of the hard close-gramed woods, such 
as maple, mahogany, satin-wood and rosewood, the best effects 
are produced by the use of water colors, rather than oil 
graining colors, while for the open coarse-grained woods, as 
oak, ash and chestnut, the oil colors are decidedly prefer- 
able. There are several modes of procedure in Distemper 
Graining, all of which will be treated more or less fully in 
succeeding chapters. 



bied's-eye maple. 75 



CHAPTEK XII 



BIRD S-EYE MAPLE. 



The wood of this very respectable native tree, is, with its 
close, line texture, its delicate, soft-toned ground and shadings, 
and pencilled, sinuous gi-ain, altogether the most beautiful of 
what are called the light colored woods. Painted imitations 
of it should alwaj's be executed in distemper or water colors 
on a very smooth ground of ahnost white, but just turned 
toward a buff with the addition of the slightest quantity of 
Italian Eaw Sienna. A lighter tint even than that on page 39 
would not be objectionable. Some grainers use a white 
ground, but it is not recommended because it gives a sharp, 
harsh character, which does not belong to the natural wood 
when hnished and polished. 

Raw Italian Sienna, Avith the addition of Burnt Sienna 
and Vandyke Brown, gives the proper graining color for Maple. 
The Raw Sienna of course forms the bulk of the material. 
The ground should be lubbed very j-mooth Avitli fine sand- 
paper. The amount of graining color required is very small, 
and the work must be rubbed in one panel or piece at a time. 
There are several modes of taking out the lights. The one 
recommended is by means of the tool made expressly for this 
work, caUed a Cutter, and shown on page 22. The tool is 
di'awn over the work longitudinally of the panel or rail, or 
stile, as the case may be, and the sides of the Cutter are alter- 



76 AMEEICAN GRAINEPuS' HAND-BOOK. 

nately raised and lowered in its passage, in order to wipe out 
in the manner shown in example on page 77. The work is 
then blended with the badger, crosswise, from left to right, 
but not in the direction of the tool. That is : the blending or 
softening must be done transversely to the direction or path 
of the Cutter. This brings the work to that point where the 
use of the " Piped Maple over- (or top-) grainer," as shown on 
page 21, comes into use. The pipes, it will be seen, keep the 
pencil points apart or separate, and there is nothing to be 
done but to make the proper color for the over-grain, and 
to draw the over-grainer with an undulating, sinuous motion 
from top to bottom of the panel. When the Avriter was a boy, 
the custom was in Maple Graining to take out the lights by 
rolling a wet sponge from top to bottom, and to put in the 
bird's-eyes by dabbing the wet surface of the work with the 
four fingers held more or less loosely or in contact. This, to 
say the least for it, was an expeditious mode of procedure, 
but Ave are inclined to the opinion that like almost everything 
else obtained at little cost, it was little worth. The putting 
in of the bird's-eyes to an imitation of Maple is a somewhat 
delicate operation, and to produce good results requires a 
cunning hand. The best tool for this purpose that has ever 
come under the observation of the WTiter is a piece of woolen 
cloth, say broadcloth, so folded as to present on the end of a 
somewhat sharp angle, a form similar to the eyes sh-OAvn in 
sample 

The operation of folding the cloth is extremely simple to 
the sight, liut not so easily made inteUigible by a verbal de- 
scription. A¥ith not a fcAv misgivings as to the success of the 
experiment, the waiter mil attempt to describe the operation. 

Take a piece of woolen cloth, about as large as the hand, 
lay on a table and fold in the middle lengthwise, bring the 
two edges too^ether toward the body, lea^dng the fold away 
from the bodv : then at a distance of about two inches from 



Page 77. 




Birds Eye Maple 



bird's-eye maple. ^ 79 

the right hand end, fold the cloth over upon itself, so as to 
bring that portion of the folded edge which is held in the 
lingers at right angles to the part held under the left hand, 
forming at the right hand an imperfect triangle ; this will be 
continued until the cloth shall take on the shape of a flat- 
tened horn, so-called, such as fancy candies are wrapped in 
sometimes. The sharp end, when applied to a small quantity 
of color spread upc^n a board or other flat surface, will retain 
enough to form a minute incomplete circle or eye which, as 
well or better than any other readily available means, will 
imitate the eyes or dots in the natural wood. By looking at 
the example on page 77 it will be seen that these eyes are not 
put in without regard to arrangement. Each eje has its 
proper place, which place will be readily found l)y consulting 
the illustration. Remember, the blender is not used after the 
eyes are put in. What seems to be the shadow of the dark 
spot is the color which the Cutter did not remove, and which 
was softened crosswise, from left to right. 

Bird's-eye Maple is exhil)iLed mostly in shops and ofiices 
where showiness is required and in panels only, the rails and 
stiles being either warm-toned l)lack walnut or, better, rose- 
wood. The mouldings may be cut in with Scarlet Yermilion 
(true) l)efore the finishing coat of varnish. 

The tree which affords this wood is the well-known sugar 
maple (Aver sctecliannum) so common in the more Northern 
States. 

The time will })robably come when this tree will possess a 
greater value for cabinet and joiner work than for the crop of 
sugar which it yields. Its use at present is confined mostly 
to panels for cabinet furniture and linings for drawers in the 
shape of veneers. 



80 AMERICAN GEAINERS' HAND-BOOK. 



CHAPTER XIII 



MAHOGANY GRAINING. 



The almost total disuse of this beautiful and serviceable 
wood for cabinet work and internal domestic architecture 
generally, and its substitution by black walnut, is and must 
remain one of those freaks or caprices of fashion which no 
man can account for. So entii'e and complete has been this 
banishment^ that one may travel round the ordinary routine of 
daity life for months without seeing a piece of furniture com- 
posed even in part of this once fashionable and aristocratic 
Avood. 

Pamted imitations also have gone out with the original, 
and a professed grainer might not in the course of years be 
called on to do a j)iece of grained work in imitation of Maho- 
gany ; whereas, a few years ago to imitate Mahogany success- 
fully was considered the highest reach of the grainer' s art. 

For painted imitations of this Avood a bright ground is 
required which may be best produced with extra deep Orange 
Clu'ome Yellow and Royal Red. The graining color is made 
with Burnt Italian Sienna and a little Yandyke Brown. The 
grain is put in with various means and tools, according to the 
kind or variety of the wood to be imitated. In r/oor.s- and other 
paneled work, what is known as crotch Avork, is generally 
displayed, similar to that shoAvn in example on page 81. In 
this the lights are taken out with the Cutter, as shown on page 



Page 81, 




Mahoganj 



MAHOGANY GRAINING. 83 

22, and for tliis purpose the use of this tool is advised as the 
best of all the various methods which ingenious workmen 
have devised for this purpose. We could tell of a dozen 
others, but us the result would be to mislead rather than to 
elucidate, we refrain. The top, or over-grainer, such as used 
in oak graining, is a most important tool in Mahogany grain- 
ing, and the proper use of it readily comes with practice. It 
must not, however, as in its application to oak, be broken or 
separated in distinct comb-like teeth, but must be kept as 
much as possible in its natur^.1 or dry state. The fine lines 
which are put in with the top-grainer, do not as in oak panels 
proceed in straight or nearly straight Hues from top to bottom, 
but commence at the bottom on the left hand side of the crotch, 
and are carried with a shghtly waving motion at a pretty sharp 
angle to the centre of the crotch, and brought down on the 
right hand side and terminated at the bottom or sides of the 
panel. The first lines will commence of course at the bottom 
and terminate there ; but as the graining is continued up the 
panel, the grain will necessarily commence at the side and 
terminate on the opposite side at the same height or level. 

Some grainers use Yermilion or Orange Mineral for making 
ground for Mahogany ; but our opinion is, that the colors 
recommended are sufficiently bright, and that the brighter 
colored pigments are not necessary or advisable. 

The rails and stiles in doors and paneled work, may be 
grained with the blender by drawing it over the fresh graining 
color either continuously, or by arresting its progress every 
three or four inches, bringing it to a full stoj) and then pro- 
ceeding agaui. In this as in all kinds of painted imitations 
of natural woods the badger blender plays a most important 
part. Graining cannot be done without it any more than it can 
be done without a paint-brush or colors. It is the principal and 
valual^le means to produce effects which are almost or quite 
unattainable without it. 



84 



AMEKICAN GEAINEES HAND-BOOK. 



Supposing the graining — that is the first application of 
distemper color — to be finished and dry, the yarnish coat is 
next in order. This may be a very thin coat, just enough to 
hold the distemper, and the yarnish should be what coach 
painters call " quich ruhhing.'" When this yarnish coat is 
sufficiently dry — which should be in one day — the work is 
ready for glazing, which will be done with the same color as 
was used for putting in the grain in the first coat. Rub in 
the work panel by panel, with thin glazing color and stipple 
with the blender, softening the grain as nui}^ seem necessary. 

The glazing coat in Mahogany graining seems more indis- 
pensable than in imitating the other woods, for the reason 
that Mahogany has more depth and transparency. 

The finishing yarnish coat, should be what the trade 
denominates as "hard drying coach body," and should be 
flowed on with a thick badger hair yarnish-brush, leaying as 
much tarnish on the surface as will remain there without 
running. 



ROSEWOOD GRAINING. 85 



CHAPTER XIV. 



ROSEWOOD GRAINING. 



This costly and beautiful wood yet holds its place in the 
fashionable world, and the arbitrary dictates of that capri- 
cious, yet almost unquestioned power, commands that certam 
articles of furniture for certain times and places, shall be 
shaped in this beautiful and costly wood. 

Painted imitations of Rosewood are not as a rule satis- 
factory or desirable, mainly from the fact that such articles 
as would be painted in imitation of Rosewood, are generally 
not fabricated out of the natural wood. Rosewood doors are 
not uncommon, 'tis true ; but their surroundings are usually 
such as to put grained work entirely out of the question. 

The proper ground for Rosewood is Crimson Vermilion : 
not the so-called American Vermilion, but the true quick- 
silver product. The surface should be very smooth, and 
previous to putting in the grain, there should be a glazing of 
Enghsh Crimson Lake applied to the gi'ound. This brings 
the surface to a proper condition for receiving the grain. 
This will be done with Black, but not Lamp Black. The grey 
tone of the common carbon, wdiich comes from the destructive 
distillation of fatty substances, ^\dll not give what is required 
for the w^ork in question. 

The Black required for this work is to common Lamp 
Black, what the latter named article is to Lead Color. 



8() 



AMEEICAN GKAINERS HAND-BOOK. 



Tliere is a Black, used by coach makers, which comes from 
the carbonizing of pure Ivory. This is the only Black which 
has no rival but that darkness which has never known a ray 
of light. It may be obtained by the grainer — not at the 
ordinary places where ground paints are sold — but at some 
dealer who trades in coach makers' goods. It will be found 
ground in quick-drjdng vehicles, and for the requirements of 
the grainer, must be reduced with raw linseed oil. This 
Black is the proper material for putting in the grain of an 
imitation of Rosewood. This pencilling coat will be blended 
as fast as put in with the badger, and when thoroughly drj, 
the wdiole surface will be glazed with a very thin coat of the 
same Black as was used for the veined work. The glazing coat 
of Black — the Black being a body color — will, of course, be 
very thin, and the glazing process will be precisely the same 
as recommended for Black Walnut and Oak. 

Rose Pink is sometimes used in place of Lake for the 
first glazing coat ; but as this is one of the most fugitive of 
all colors, its use is not advised, especially for out-door work. 

Rosewood imitations are not common, the wood itself 
being now, mostly used for such articles of furniture as are 
not suitable for imitating with painted work. The example 
given on page 87, is a specimen of very dark, rich Avood. 



Page B7 




Ro sewood. 



SATIN-WOOD. 89 



CHAPTEK XV. 

SATIN-WOOD. 

This is an East Indian wood of fine grain, and takes on 
a high pohsh. 

It is disphiyed mostly in panel-work, and is imitated on a 
ground of the same tint as that used for Bird's-eye Maple. 
The graining color is the same also, as that used in graining 
the last named wood, viz : Kaw Italian Sienna with a very 
small quantity of Burnt Sienna and Vandyke Brown. The 
difference in the painted imitations of these woods, is simply 
in the manner of putting in the grain. 

The Graining is done wholly in Distemper, and the lights 
as shown in example on page 90, are taken out with the 
Cutter as shown on page 22, and the directions as to putting 
in the top grain, given in the Chapter on Mahogany Graining, 
are entirely applicable to the work in question. 

It may occur to the reader, that these (examples might and 
should have shown much finer work than they exhibit. It 
must, however, be remembered that our object is not to 
exhibit pictures of natural woods for expert grainers to copy, 
but to show actual grained work such as the learner is 
expected to reproduce with more or less exactness in painted 
imitations. These examples are copies of work actually done 
in the colors, and with the tools and l\v the processes we have 
attempted to describe and elucidate. 

There is very little demand for Satm-wood in this country, 



90 



AMERICAN GRAINERS HAND-BOOK. 



either in the natural wood, or in painted imitations of the 
same. 

While it is important to cultivate a bold, free hand in 
graining, it must not be forgotten that a close imitation of 
natural wood is the result of careful manipulation, a practiced 
eye, and good taste. No man can perform a good job, in 
imitating colored and fancy woods, A\dth a whitewash brush 
dipped in color, and get over a half acre of surface in eight 
hours. A grained door may be a " tiling of beauty,'" as certainly 
as is the finest work of art which adorns the walls of a picture 
gallery. The itinerant picture vendor gladly accepts a few 
dollars for his jiair of thirty by forty inch elegant landsca]3es, 
in broad Dutch-gilt frames. This sum, multiplied by hun- 
dreds, is freely paid for the work of some famous artist, the 
whole surface of which might almost be covered with a man's 
two hands. A door side may be grained for a quarter of a 
dollar, or twenty -five dollars may l)e expended, in labor alone, 
on the same surface. In either ease the purchaser is F;uj)posed 
to receive no more than an equivalent for his money. In 
graining, the most skillful workman can perform easily and 
rapidly, the cheapest and plainest kind of work required ; and 
it is a matter of necessity that the professed grainer shall be 
able to adapt his hand to any style of work which may be 
required. 



PaMe 01. 




Satin M^ood. Distemper. 



BLACK WALNUT IN DISTEMPER. 93 



CHAPTER XVI. 



BLACK W.ALNUT IN DISTEMPER. 



This mode of graining Black Walnut is recommended 
when a large surface is to be painted quickly and cheaply, 
and A\TLth little regard to the closeness of imitation. It is 
accomplished in various ways, and by various means, some of 
which — those deemed most useful — mil be hereafter described. 

First, the ground — similar in tone and character to that used 
in Oil Graining, Chapter VIII. — will be stippled on a coat of 
water color, made of Burnt Sienna and Vandyke BroAvn; but the 
coat and color both must be lighter than that recommended 
in oil graining. Upon this stippled coat when dry, may be 
put in the veins and lines with a sable pencil or with the top- 
grainer, as described in Oil Black Walnut Graining. This, 
of course, requires no time before the varnish coat, which 
must be — supposing the intention be to glaze over the 
varnish — quite thin. When dry the glazing coat of water 
color must be applied in precisely the same manner as 
shoT\Ti on page 59, under the head of Black Walnut 
Graining in Oil. 

It is common in work which does not present any extended 
surfaces, such as panels or rails — work which consists in 
mouldings and narrow flat pieces, as door and window frames, 
and cornices — to give first a stippled coat of oil color, and 
when dry, to put on over this a coat of Distemper Color and 



94 AMEEICAN GKAINEKS' HAND-BOOK. 

grain with the blender, drawing the same more or less in 
right lines lengthwise of the work, and softening, as may suit 
the taste or fancy. This mode is recommended when the 
surfaces do not afford any chance for a display of artistic 
labor, or skill. 

When a large extended surface of new wood is to be painted 
in imitation of Black Walnut, and the result is to be accom- 
plished with the least expenditure of time and material, we 
recommend the following course of procedure. First give the 
work a coat of glue size, having a small quantity of whiting 
mixed with it. On this when dry, a coat of ground color made 
with -pure White Lead, colored with Golden Ochre and a little 
Ivory Black, to produce a warm drab ; thin almost entirely 
with boiled oil, and when thoroughly dry, apply with a 
largest size paint-brush, or an eight-inch kalsomine brush, a 
coat of Distemper Graining Color, mixed as follows : Yandyke 
Bro^vn and Burnt Umber ground in water, added to an equal 
quantity of smooth flour paste. Thin this with water to a 
proper consistency and apply as before said. For the gTain- 
ing, use a handled duster, such as is common for removing the 
dust from a ]3ainted floor by means of a dust jDan. Put the 
color on a large surface at a time, as it will not dry rapidly, and 
go over it straight or diagonally with the bristles composing 
the duster, and stipple with the same. The varnish coat 
over this needs be heavy, and of elastic material, to insure 
durability. This style of painting results in a clean respect- 
able looking job, durable if properly done, and quite as 
cheap as ordinary two-coat work of plain painting. 



LIGHT OAK GRAINING IN DISTEMPER. 95 



CHAPTEE XVII. 

LIGHT OAK GRAINING IN DISTEMPER. 

Ordinarily there are no conditions or requirements where 
the painter or grainer is called to depart from the now almost 
miiversallY adopted custom of graining oak in oil colors ; but 
there may be occasions where a job of Oak Graming must be 
done in Distemper ; consequently, every grainer should acquire 
a knowledge of the process. It is recommended only on the 
score of economy and saving of time in the operation. 

A description of the process, as now in actual operation in 
one of the large buildings used, by the writer, as a manufac- 
tory, will, perhaps, best elucidate to the average comprehen- 
sion, the mode of proceeding to accompHsh the best results 
with the least expenditure of means. 

First in order, the new wood receives a coat of glue size 
mixed with common whiting. This is followed by the coat of 
ground color— a Hght buff, similar to that on page 39, which 
is made of imre Lead and Golden Ochre, thinned mth clear 
boiled oil. This oil coat, which bears out about as much as 
an ordinary second coat, is allowed to stand two days, when 
a rubbing"^ of sand-paper brings it into condition for the 
Distemper Grainmg Color. For this, take of Eaw Sienna, 
Burnt Sienna, and Vandyke Brown ground in water, whatever 
may be required to do the work ; mix to suit the taste, as to 



96 



AMERICAN GRAINERS HAND-BOOK. 



tone of color, and add to the mixture an equal quantity of 
smooth flour paste ; thin with water to a proper consistency 
for application, and apply with a largest size paint brush ; 
stipple with a whitewash brush, and comb as in oil graining. 
To give variety, some of the work will be combed, and some 
portion will be left as stippled by the whitewash brush. In 
case it may be deemed desirable to give a still greater variety 
to the work, a glazing coat of oil graining color may be given 
to every other board forming a wall, or bulk-head, or ceiling, 
and to a rail or stile of a door. When dry this work should 
receive a heavy flowing coat of elastic varnish. This style of 
paintmg costs but little, if any more, than ordinary plain 
painting, while it is much more durable and pleasing to the 
eye — that is, the general appearance is altogether preferable 
to plain colors. 



VARNISHING. 



97 



CHAPTEE XVIII 



VAENISHING. 



The shabbiest economy ever i^racticecl in painting, is the 
use of cheap varnish in finishing any job where a coat of 
varnish is required. 

Closing the seams of a costly garment with unsound thread, 
or covering an expensive house with a paper roof, would 
hardly evuice less discretion in the way of true economy. 

Work that is worth varnishing at all, is worth a good coat 

of that article. It will look better, wash better, and last longer, 

whether it be inside or outside work. A coat of cheap varnish 

—or a dear varnish, if it be not suited to this particular Avork— 

may, in a short time, spoil the best possible job of graining, 

and 'leave the surface ui such a condition that all the labor 

expended will be worse than thrown away. Quick drying,^ hard 

varnish, such as is used on furniture, is not suited to varnishing 

loainted surfaces, especially if the v'ork he exposed to the weather. 

It seems almost beyond behef, that a house-holder should 

secure, at whatever cost of trouble and money, the services of 

a first-rate artist to do a particular job of graining, and e^dnce 

no anxiety as to the character of the varnish which is put 

upon the painted surface to protect and preserve it. The 

difterence in cost between the best varilish and the worst, for 

a job of grained work, is but a trifle. The owner would pay 



98 AMERICAN GRAINEES' HAND-BOOK. 

not less than three dollars a gallon for the ].)oorest Tarnish — 
that most nnfit for the purpose — while the best ought not cost 
more than six dollars a gallon. The difference in first cost 
between the best and thci worst Tarnish, for coating both sides 
of a large door, would not l)e more than thirty or forty cents, 
while the one will Avear ^ten times longer than the other, and 
giTe a much better finish. Many house painters are at fault 
in this matter, and ^^ractice a left-handed economy in the 
purchase of Tarnish. 

What would be thought of a carriage painter who would 
expend fifty days' labor, and the requisite material in painting 
a coach, and finish the same with a coat of doubtful Tarnish, 
on the pretense of economy ? 

It must be remembered, that the durability of a job of 
grained work depends wholly on the Tarnishing. There is no 
good reason why grained doors should not last without re- 
painting as long as an oil painting or other work of art, and 
they ma}^ be made as beautiful and attractiTe as the pictures 
which adorn the walls. It is quite within the power of a good 
workman to so finish a grained door, that it shall remain in 
perfect preserTation for twenty years, or more. To efiect this, 
requires, of course, the best talent, knoAvledge, skill, and a 
practiced hand ; but it is within reach of cTery good workman. 
No good job of grained work, or au}^ other w^ork, in fact, 
should be looked upon as finished after one coat of Tarnish. 
Two coats, at least, should be put on — the first being what 
is known in coach painting as " quick leTeling or rubbing 
Tarnish," and the last, or finishing coat, should be hard- 
drying coach-l^ody Tarnish. The first coat should, after 
standing long enough to become sufficiently hard, be rubbed 
with powdered pumice-stone, and the finislnng coat should be 
flowed on with a flat, thick badger, or fitch flowing Inrush. As 
much Tarnish shouliil be applied as will remain on the work 
without running. This operation requires skill and practice, 



VARNISHING. 



99 



with an excellent judgment. No novice should attemj)t it. 
To show how dithcult it is, the following extract from the 
"Coach Painters' Companion" is presented, and as the 
operation in question is similar to coach work, what is said 
has equal sig-nilicance in this connection : 

" Leaving this to harden, return to the body, which was 
" left with one coat of varnish, and it will be found hard 
". enough for first rul^bing. Provided mth a piece of cloth 
'' or felt and finely pulverized pumice-stone, a water-tool, 
'^ and plenty of clean cold water, jDroceed to cut down the 
''varnish as closely as possible, being careful not to go 
" through to the color, and not to allow the pumice-stone to 
'' dry on the varnish ; use the water-tool freely in all the 
'' corners and around the mouldings. This operation will be 
" repeated through three successive coats of varnish, and the 
" body is ready for the trimming shop. The carriage part 
" must now be subjected to the same rubbing process as 
"has been applied to the body. This work must not be 
" trusted to unskillful hands. An expert only can do it to 
" perfection. If performed by inexperienced hands, the 
" result will he an untimely striping of all the sharp angles, 
" and the prospect of a well-finished job materially impaired." 
It will be remembered, that we are not now treating the 
question of common grained work, done under the whii) and 
spur, of insufficient compensation, but of the best results that 
are possible, with imitations of colored or fancy woods. 

Nothing is spared in coach painting, which can or may in 
any degree conduce to the durability of the work, not incom- 
patible with beauty of finish; and the coach painter is 
supposed to have reached the maximum of these two most 
desu-able qualities in combination. So, his example and 
processes are worthy of imitation, so far as they may be 
apphcable to the work of house pamting. Through a partial 
adoption of the modes and processes common, m coach 



100 AMEKICAN GBAINERS HAND-BOOK. 

painting, the painted surfaces inside our domiciles, may be 
rendered as mucli more beautiful and durable than tliey now 
are, as coach work is more beautiful than house painting. 
The assertion may seem starthng to the average house 
painter's inteUigence, but it is a fact nevertheless, that not 
one house painter in a hundred, has any knowledge of the 
proper use and application of varnish. In proof of this, 
we would state that a most common practice among them 
is, when varnish does not work easily in the brush, to thin it 
with turpentine, as they would thin a pot of paint. 

Now there is no proposition more truthful than this : when 
varnish is too thick to spread under a brush, it is not fit to 
work, and cannot be made so, by the admixture of turpentine. 

Varnish should not, and must not be rubbed out under 
the brush, as paint is rubbed out. The two processes are 
entirely different. In varnishing, the object is to put as much 
on the work as will stay there. The more varnish there is on 
the surface, supposing it be smooth and free fi'om runs, the 
better. The object should be, not how Httle can the surface 
be coated with ! but how much can be put upon it and made 
to stay there. 

House painters should learn the art of varnishing from 
coach painters. 

In concluding this Chapter, the wi'iter would say, use for 
good work the best varnish you can get, and as much of it as 
^Yi\\ remain on the work without running. 



GENERAL REMARKS. 101 



CHAPTEE XIX. 

GENERAL REMARKS. 

There is mucli tliat might be said in a general way on the 
subject of Graining, which cannot find room in a work of 
this scope and extent. The aim has been to describe the pro- 
cesses with as much detail and particularity as, in the opinion 
of the writer, would serve to elucidate the subject, and not 
befog the learner with a confusing multiplicity of directions. 
The difficulty of teaching any art or science, however simple, 
without the use of the technical vocabulary belonging thereto, 
cannot be appreciated by one who has not made the attempt. 
To teach hj means of written words, a process when both 
teacher and learner are familiar with the technical terms 
naturally and properly belonging to such process, is compara- 
tively easy : but to make clear to the comprehension of the 
novice, simply through such medium, a process — which 
depends for its successful execution almost entirely upon the 
eye — and at the same time so to phrase it as not to make it 
seem childish to the initiated, is a task wdiich one compre- 
hending these difficulties would be slow to undertake. 

With an apology for the repetition we would again call 
attention to the fact, that the object has been so to present 
this matter, that one, unacquainted even with the simple 
names of the tools and materials usually employed, would 
be enabled to start from the right point and proceed in 



102 AMERICAN GEAINEIIS' HAND-BOOK. 

tlie proper direction. The measure of success which will 
wait upon the effort, can be known only to those who 
seek instruction m these pages. 

The reader will hardly come to the conclusion that all 
grained work, or even a majority of it, is TVTOught out through 
all the various processes heretofore described. 

A very large proportion of what is called Graining, is 
finished with one coat of color to the ground work and one 
coat of varnish. Indeed, two varnish coats are the exception 
rather than the rule. Much of the Black Walnut Oil Grain- 
ing is done without the stippled coat of Distemper Color, and 
varnished without glazing : but one must not expect to 
obtain the best results through so simple a process. What is 
worth having is worth working for ; and this will be found 
true in Graining, as in any of the higher branches, of the 
Art of Painting. 

The interior wood-work in mills, factories, and places of 
like nature, is commonly painted in imitation of some of the 
lighter hard woods, not so much on the score of appearance 
as for cleanliness and economy. A varnished surface is 
much more easily kept clean than a surface of ordinary 
paint ; but varnished plain colors do not look well. Under 
such ckcumstances, no attempt is made at putting in fine 
work, the object being to turn off the job as quickly as 
possible, with a view to neatness and general uniformity. 

City Grainers, those who call themselves " Grainers to 
the Trade," do not usually in large jobs, " rub in" the work 
themselves, but employ one or more boys, who soon become 
expert in the preliminary process of rubbing in, combing, <tc., 
and who are from the nature of their occupation, in the very 
best possible school for acquiring a thorough knowledge of 
the Art. 

The importance of a smooth, hard surface to grain upon 
cannot be over-estimated. The best workman in the world 



GENERAL REMARKS. 



103 



cannot do good work on a rough, uneven surface, for the 
reason that the rough places wHl retain an undue proportion 
of color, and will not part with it when the attempt is made 
to wipe' out the hghts. A well sand-papered surface and 
finely ground colors are indispensable to good, clean work. 

There are some othermse very good Grainers, who have 
a slovenly habit of not cleaning up the ends and corners. 
They remind us of men who wear good clothes, but who 
neglect to brush their hats and black their shoes. Care 
should be taken to carry the work closely and cleanly down 
in door frames and base boards, to the contact line with 
their resting places : as also to cut closely and wipe cleanly 
along the joints and Hues in panelled work. New Pine 
wood-work, which is to be finished in imitation of any 
of the hard woods, should always be first coated with a color 
darker than the intended finish, and the first coat should 
be well sand-papered. The succeeding coats should be as dark 
as possible, with a view, of course, to the proper ground-tint 
for whatever kind of wood it is proposed to imitate. By such 
a course of procedure, the liability of the finished surface to 
accidental injury is very much lessened. As the varnish 
becomes in time brittle, it will, under the accidental blows 
which it is in the nature of things subjected to, be hable to 
chip off, and bringing the graining color and ground color 
with it, reveal the underneath coats. If the color under- 
neath be dark, the general appearance of the work is little 
defaced, compared with what it would be supposing the 
priming coats were white. 

The writer has been at loss to comprehend why men, as a 
rule, ordinarily practice a niggardly economy in respect to 
the painting of their houses, while exhibiting a profuse liber- 
ality in most other house decorations and embellishments, such 
as carpets, hangings, furniture, &c. 

An o^Tier having decided upon the repainting of his 



104 AMEEICAN GKAINERS' HAND-BOOK. 

domicile, seems naturally impressed with tlie idea that the 
proper thing to do, is to call upon all the " Trade," far and 
near, mth the request that they come over and view his 
premises, preparatory to furnishing estimates as to how 
cheaply the work may be done, it being understood that the 
painter who makes the lowest figures wiU "get the job." 
Suppose the house after repainting, shall require new furni- 
ture, carpets, hangings, &c. Would any but a lunatic think, 
under the circumstances, of gomg to all the upholsterers in 
New York to obtain estimates of cost, with a view of letting 
out the work to the concern which would promise to do it for 
the least sum of money ? There is as much latitude in the 
way of quality and kind, in house painting — grainmg particu- 
larly — as in furniture and upholstery. A Grainer may paint 
a side of a door with an expenditure of ten cents worth of 
labor, or he may bestow ten dollars' worth of labor on the 
same surface : and he may finish it wdth varnish that costs 
him one dollar a gallon, or with varnish which costs six 
dollars -pev gallon. In view of these facts, it seems a little 
unreasonable that a proprietor, having chosen the cheapest 
thing offered, should find fault because the grained work is 
spoiled by the cracking of the varnish, and that the blinds 
fade almost before the painter turns his back on his com- 
pleted job. 

No person, even in having his house painted, should 
expect to receive for his money more than its worth : and 
cJieai? things are as a rule, the dearest in the end. That this 
is especially true of paints and painting, the writer knows 
from the closest observation and an every-day experience of 
nearly forty years. 

The reader is earnestly requested not to lose sight of tlie 
important fact that these words are directed, not to the ex- 
perienced and practiced workman, but to the learner — the 
beginner. Not to him who can teach, but to him who is 



GENERAL EE]VIAKKS. 105 

desirous of receiymg instructions, and the writer's task has not 
been a thankful one, because of the fact of how Httle can be 
taught by printed instructions, in an operation which depends 
for its successful execution almost entirely upon the perceptive 
faculties. True, the hand must be educated, and the intellec- 
tual faculties must possess a knowledge of the requisite means 
and materials ; but the perceptive faculties alone must be 
consulted as to the success or failure of the w^ork. The eye 
only can tell whether or not the work is a creditable imitation 
of the wood which the workman has attempted to copy. 
Once more we would impress upon the mind of the learner 
the importance and even necessity of attemptmg this work 
only with good and proper materials. As before said the 
first great difficulty in the way of the painter, who would 
become a Grainer, has been obviated by means of ready-made 
Graming Colors. These are now obtainable almost every- 
where, and when not at hand or in the immediate neighbor- 
hood, may be ordered from the manufacturer, at the additional 
cost only of express charges. The cost of material for 
Graining is but a trifle, as a pound of the best and finest color 
in market may be purchased at retail for about twenty-five 
cents, and this quantity would be suflicient to cover from 
thirty to forty doors. It will be safe to assume that the 
Graining Color for one side of a door wjR cost not more than 
a cent. The best color mil prove the cheapest, not only 
because of the greater surface it will spread over, but because 
the tone of color will best match the wood which it is in- 
tended to imitate. Cheap Graining Colors, like all cheap 
adulterated paints, are simply worthless. 

The tint of the ground work is important, but relatively so 
from the fact that the w^ork may be made lighter or darker by 
the application of less or more of the Graining Color. Never- 
theless it is better and will cost less in time and trouble, to 
have the ground right to start with ; and we have given the 



106 AMEBIC AN GRA^INEES' HAND-BOOK. 

proper materials for making the best average ground for the 
various woods. Eeferrring again to the ground work, let us 
saj that the surface should not be flat, l^ut should present 
what is known among painters as an egg-shell gloss. That 
is, just so much oil should be used as mil give this gloss and 
no more. If more than the necessary quantity of oil be 
used, the paint will not rub smoothly, and a smooth, hard, 
even surface is indispensable to a good job of Graining, par- 
ticularly if the hghts be taken out with the horn tool hereto- 
fore described. Every person who has studiously observed 
natural woods, needs not be told that no two widths in a 
wainscoting of narrow oak boards are precisely alike. They 
differ not only in grain and figure, but in tone of color, not- 
withstanding the general uniformity. Some of the boards 
will show a tone of color in which yellow is decidedly promi- 
nent. Other widths will show a brown as of umber in the 
plain portion. The grain also presents a variety of colors. 
Now as all these variations are to be shown in the painted 
imitations upon a uniform ground, it follows that the tone of 
this ground must be yellow enough to display the yellowest 
samples which the natural wood presents. The browner 
tones can be readily produced by the application of a thicker 
coat of the Graining Color, whereby the yellow ground work 
may be concealed. No two adjoining boards in a wainscot 
should be just alike, both in grain and shade, while there 
should be no violent contrasts. Of the two evils, the least 
is a dead level of uniformity. The first is only monotonous 
and unattractive, while the other is painfully suggestive of a 
failure, to perform a task which the skill of the workman was 
not equal to. Grained doors, particularly of Light Oak, 
should present corresponding panels similarly grained, as if 
sawed from the same log, supposing them to be natural wood. 
The work on a panel should be put in with reference to its 
corresponding companion, and not witli:- its upj^er or lower 



GENERAL REMARKS. 107 

one, as tlie case may be. That is : the two panels side by 
side, shonkl be grained with special reference to each other, 
and should be very similar in both color and grain. There 
nmst also be a general likeness in all the panels and the same 
character of work, and the same tone of color should be -pre- 
sented on all. The rails and stiles of the door wdll giVe 
sufficient opportunity for a display of the various kinds of 
grain and tones of color. As a rule, when the panels of a 
door are grained moderately plain, say with straight combing ; 
and dapples as in sample on page 30, a greater show of work 
is made on the rails and stiles, the middle rail and stiles 
generally being selected for the most elaborate figuring, the 
top and bottom rails being generally plain and lighter than 
the outer stiles, which are usually heavy and similar in appear- 
ance. Inconsiderate persons may rashly condemn this 
methodical arrangement as unnatural; but every Grainer 
knows how indispensable it is to ensure a workmanlike job. 
With the greatest variety there must be a certain uniformity. 
No first-class joiner or cabinet-maker would throw together 
the different pieces which go to make up a door or a piece of 
cabinet work, without regard to selection. Such carelessness 
would result in violent contrasts and disagreeable incongTui- 
ties. The advantage which the imitator has over the worker 
in natural woods is this : while the worker in the real, is re- 
stricted to such varieties as his stock presents, the Grainer 
may give a " counterfeit presentment" of such selections as 
best comport and harmonize with the surroundings ; and more- 
over, a piece of grained wood in the highest style of the art is 
more beautiful, and frequently more costly, than the same 
work would be if made of the natural wood. 

The aim of the writer — in giving suggestions as to the 
l:)est mode of producing the proj)er tints and tones for ground 
work for the various w^oods — has been to simplify the thing 
as much as possible. To make plain, not to darken and con- 



108 AMEBICAN GRAINERS' HAND-BOOK. 

fuse — the object being to save tlie workman all unnecessary 
trouble and expense. The best and cheapest and most con- 
venient simple material, for making grounds for Light Oak, 
Maple, Ash, and Chestnut, is Pure Eaw Itahan Siemia, 
tuited with Piu^e White Lead, not the so-called Sienna which 
is sold by most paint dealers under that name, but the 
genuine article, which can be, and should be obtained even 
at some cost and trouble, the said color being one of the 
most useful and indispensable articles in the paint-shop. 
For Maple ground, of course the smallest quantity is re- 
quired, it being necessary onl}^ to change the white to the 
faintest suggestion of straAV color. For Ash, the ground 
should be but little darker. For Light Oak more of the 
Sienna will be required, Avhile for Chestnut a decidedly 
yellowish tone is wanted. Care must be taken not to make 
the grounds too dark. Eather in the other extreme, for the 
reason, that there is a remedy for a too light gi'ound, in the 
application of a greater quantity of Graining Color, a^ also in 
the glazing coat : while a ground too dark, cannot be made 
lighter. For Dark Oak, Burnt Italian Sienna with white will 
produce a far better ground than any other single color. The 
same caution must be observed, however, in obtaining this 
color as was recommended in the case of the Raw Italian 
Sienna. The domestic so-called Siennas will not prove sub- 
stitutes for the genuine Italian pigments. 

The ground for Black Walnut may be the same as for 
Light Oak with the addition of a little Burnt Sienna and 
Black. No two professed drainers perhaps, will agree as to 
the exact tint of color for ground work, each one having 
some predilection for a particular tone. These instructions 
being offered, not to the expert, but to the uninitiated, we 
do not propose to run counter to any man's prejudices, our 
object being as aforesaid, to simplify the matter to the last 
possible degTee. 



GENEKAL REMARKS. 109 

And now having written all that seems important to the 
learner, and everything, which in onr view, can tend to make 
plain to the novice, the art of imitating woods with colored pig- 
ments, with an apology for any shortcomings, and a hope that 
no one will fail to find something instructive in these pages, 
we bid you, readers, one and all, a hearty farewell. 



ADVERTISEMENTS . 



Tie Atlantic Wie Leal Hnel Oil do. 

Finnish CoiiMiiiiers iiiul Dealers ^uili 
T^XDER TITK FOLLOWIXG BRAXD : 




287 :e^ea.:fix^ st., istev^t itoirk:. 

Quotations Furnished on Application. 



RAW AND bI^IiNSEED OIL. 

Tii6AtlaiiticWti|Mli''''«lOilCo. 

Pure Linseed Oil is indispensable to good and durable Painting. The sub- 
scribers offer this article— of such prime importance to the Painter and 
consumer— perfectly pure— manufactured only from the best imported Flax- 
seed (or Linseed), put up in first quality casks and barrels. 

No. 287 PEARL STREET, NEV^^ YORK. 

PRICES SENT BY MAIL ON APPLICATION. 



ADVERTISEMENTS . 




ESTARLTSHED 17??. 



MANL'FACTUKERS OF 



White Lead, Red Lead, Litharge and Orange Mineral. 

The present proprietors succeed William Wetherill, successor to John P. and Wm. AVetherill, sons of 
Samuel Wetherill, the Oripnal Manufacturer of the above articles in the United States. 



No. 4 1 North Front Street, 



Factory-West Philadelphia. 




This is the ONLY QUALITY of White Lead that we have 
made for the last 15 years. 



January 1, 1873. 



JOHN JEWETT & SONS, 

182 Front St. New York. 



ADYERTISEMENTS. 



Manufactured from Se- 
lec'ted Pig Lead, after the 



MANUFACTURERS OF 




most approved process, /V^ \^ A^CT"// JV\ 

this brand of White Lead /'^^ ^<^^\ ^yii^rl^TtT 

is equal in all essential /^^* "v^ \ e*^*^ ^^uU, 

properties to the best / ^\ 

English Lead. It is for \ . m tma 

sale by Dealers in Paints, \^ POM PA NY V. / 

and at the office of the \^ ' J^ / 

26 Burling- Slip. ^^ " U K ^-^ 

Mod f lile Lead ManifactnriDg Co., 

B. W. HOW, Sec'y. JAMES HOW, Pit s't. 

26 BXJRLIlSrG SLIP, 

NEW YORK CITY. 



John Jewett & Sons, 

NEW YORK, 

MANUFACTURERS OF 

Pure Linseed Oil, 

EAW, REFINED AND BOILED. 



FACTORY AT PORT RICHMOND, STATEN ISLAND. 



ADVEKTISEMENTS . 



it* Ii#uis Itsi & §1 it* 



is/l.a.istxj:b'j^gttjt^:e::rs o:Er' 



/ 

IPlitf I eail, P 




LIIHimSE, LINS[[D, CISIOR & COHOH SEEO OILS, 

(lor. Cass Ayeniie and 2(1 Street, 



W. H. PULSIFER, Prest. 



S. BEYMER. 



R. F. BAUMAN. 



C. F. WELLS. 



Beymer, Bauman & Co., 



CORRODKRS AXD MANVFACTUREBS OF 



4tri 




'^UVB 



RED LEAD, ORANGE MINERAL, 




MaSj 



LITHARGE, ZING PAINT, PUTTY & COLORS, 

COIR.. SFTOCD'D STIR.EET .A^ZSTID ir-llPTII .A.VElSrXJE, 

PITTSBURGH, PA. 



C. T. RAYNOLDS & CO. New York, July 15th, 1869. 

Gentlemen— I have carefully analyzed the sample of White Lead, branded " Beymer, 
Bauman & Co.'s Pure White Lead, Pittsburgh," and find that it is PURE WHITE LEAD, 
ground in Oil. It is entirely free from Barytes and every other impurity or adulteration. 

Respectfully yours, C. F. CHANDLER, Ph. D. 

Profesaor Analytical and Applied Chemisti^, 
School of Mines, Columbia College. 



ADVERTISEMENTS . 



BATTELLE & RENWICK, 

163 Front St., New York. 



TIEIE! 



ESTER WHITE LEAD CO 



EAGLE WHITE LEAD COMPANY, 



MANUFACXUKEl'.S OF 



Red Lead and Litharge, 



PROPKIETOBS OF 



Clark's Patent for ''Refilling" and ''Bleaching" Oils. 



ADVERTISEMENTS . 



V^yto^ INCORPORATED 1825. C/J/T 

CORRODE RS AND MANUFACTURERS OF 

Pure White Lead, 

Red Lead and Litharge. 

The Litharge manufactured by this Company is warranted 
Free from all Adulteration, and is especially adapted to the use 
of India Eubber Manufacturers. 

CAUTION,— Dealers in White Lead and Consumers of Paint are 
cautioned against the many Spurious Paints put up in imitation of the brands 
of this Company. 

Every Package of Pure Lead sent out by us has the following Copyright 
Trade Mark Attached, printed on Blue Paper. No others are genuine. 



Many paint 
grinders in New 
York City and 
t'lsewhere are 
selling Lead 
branded in close 
imitation of 

ours, such as 
' ' Brooklyn 
Standard, " 



m 



,%z.\ 



~5 

S'3 '*»I'ITIONAl,TBADBMARIv-. 

^»f. TVo caution 65Q /<^-<M//'^^\ (tf C 

\<<i. consumers ag'nst „^ , ^\«^ 'i/vA <r - 

,%\ the numerous 8pu. Reward />?«| rArr rsV- 
^\%. rious brands, in imi- for detec- l-i.. ,'-'-''*'^ qI ^ 
5iV tafnofours.ofadul- tion of V^"™^^^!^'^/ 
A*'^ terated and greatly counter- SCOi, \'^/ ^' 
^>^- inferior qualities- Jeits. \^8 >^iX#y 
which are sold as .„ _/* - ^ <K/ 

our LEAD. F. HOWE, Tr ^^ 

'a.. Oj^ce, 89 Maiden- Lane, '**■ 



''Brooklyn 
White Lead," 
&c. All of them 
are mere bogus 
productions, 
containing LIT- 
TLE or NO 
LEAD, and only 
intended to de- 
ceive the public. 



We put no other name than our own upon our Kegs and Cans. The fol- 
lowing are our regular brands : 

''PREMIUM PURE," Standard Brands, Blue Label. 
''REFINED," Yellow Label. 

"BALTIC," Red Label. 

Railways, Steamships, and Manufacturers supplied at lowest market rates. 
All orders promptly filled. Address, 

89 MAID£N LAN£, NEW YORK. 



ADVERTISEMENTS. 



Salem Lead Comp'y, 





w.' ' Mnil 




i^d 



Their Mills are under the Superiuteiidence of Mr. D. G. 
Batchelder, whose high reputation as a Lead Manufacturer is well 
established in New England and New York. 

The White Lead made by this Company stands unrivalled for 
its uniform 

PUBITY, BRiLLIflNT WhITENESS AND FINENESS, 

and these qualities, in an ennnent degree, are creating for it a 
demand hitherto unprecedented in the trade. 



ITS PERFECT PURITY WARRANTED, 




Of any size or thickness required, made by this Company from the 
best Pig Lead, and warranted satisfactory. Address — 

FRANCIS BROWN, Treas., 



ADVEltTIhlEMENTS. 



ElST^^BLISIiED 1837. 



EOKSTEi:^, HILLS & CO. 




FIRST PREMIUM 



.^Jm^^ 



niCEi<ri2^ BPi-A-TsriD 



First Premium Large Silver Medal 

Awarded by the Industrial Exposition for superiority over all other White Lead exhibited. 
We offer the above brand of White Lead to the public, with the positive assurance that it is 
perfectly pure, and will give OJV^ OUNCE OF GOLD for every ounce of adulteration 
that it may be found to contain. For sale by dealers generally. 

ECKSTEIN, HILLS & CO., Cincinnati. 

NOTE— Consumers will consult their interest by bearing in mind that a large proportion 
of the article sold as PURE WHITE LEAD, is adulterated to the extent of from 50 to 90 per 
cent., and much of it does not contain a particle of Lead. 



cA If. Chctchtiek. 



Win. J. 'Bride. 



E. D. Ingraham . 

J. H. CHADWICK & CO., Agents, 

Office, 22, 24 & 26 Oliver St., Boston, Mass. 



IS/IiA.lSrXJDEr'^^CT-CJPlEFlS OE" 



8 



WMITE LEii aii Ili'e 

Dry and Ground in Oil. 

Red Lead & Litharge, Lead Pipe & Sheet Lead. 

Patent Jin Joined Pipe. 

PURE BLOCK TIN PIPE, COPPER & IRON PUMPS, 

IMPROYED IRON RIPE & FITTINGS. 



ADVERTISEMENTS. 9 

FOREST RIVER LEAD COMPANY 

The Subscribers, Agents for the sale of this celebrated Lead, beg leave to 
call your attention to the following facts respecting it, and to solicit your 
orders for the same, as we have increased the capacity of our works, and hope 
to be able to supply the demand. 

All White Lead, in Oil, made at the Forest River Mills, is warranted to be 
ground in the best Refined Linseed Oil, and its superior quality for Whiteness, 
Body, Drying, and Fineness, it is believed, is not excelled by any establish- 
ment in the world. 

All White Lead, made as above and marked "Warranted Pure,'' is per- 
fectly pure. 

The great Body of this Lead, and its capacity for covering, renders it 
cheaper to the consumers than other Leads. It is confidently believed that 
one hundred pounds of it will do as much work as one hundred and twenty- 
five pounds of most other brands. This fact has been stated by some of the 
best painters in this city and vicinity. A fair trial of the article will convince 
any practical, unprejudiced paiuter that it can be worked more easily and to 
greater advantage than any other Lead now offered to the public. 

J. A. *fc W^. BIKr> &: OO., 

211 State Street, (State Street Block,) Boston. 



AVM. DAVISOX. Pipst. (JILBERT T. SMITH. Sec'j. 

Maryland White Lead Company 

©F THE Clf ¥ ©F BAILTIM®iRE. 

FACTORY LOCUST POINT. 






PURE LEAD IN OIL. 



'% 



10 



ADVERTISEMENTS . 




SOUTHERN WHITE LEAD & COLOR WORKS 

N.W. COR. MAIN AND LOMBARD STS., 

JOHN T. DeMOSS, Sup't. St, LoUIS. ^^' ^- GREGG, President. 

F. W. ROCKWELL, Sec'y. J ' J HENRY S. PLATT, Vice-Pres. 



WHITE LEAD WORKS. 

CORRODEES AND MANUFACTURERS OF 

STRICTLY PURE WHITE LEAD. 

(DRY AND IN OIL.) 



RED LEAD, 

LITHARGE, 




ZINC PAINT, 

PUTTY, Ac. 



The following Certificate of Guarantee of Purity, bearing our signature, is affixed to 
every package of our Strictly Pure White Lead : 

Gtr^JB^JVl'^^.— We guarantee the contents of this package Strictly Pure White 
Lead and Linseed Oil, and will pay Twenty Dollars in Gold for every ounce of adulteration 
found iu it. It is unsurpassed for Purity, Whiteness and Fineness. 

J. H. MORLEY & CO. 



ADVEHTISEMENTS. 11 

Masiy's Mdy-iade Grainii Colors. 

AYe have now ready for the trade a hue of Graiuing Cohn-s, 
which are in all respects superior to anything ever before offered. 
These are ground finer than Tube Colors; and, being compounded 
of the best materials, and under the most competent handling, 
present the Graiuer with a mixture ready for thinning and putting 
on, altogether better than aii}^ color which he can make with such 
materials as he may have at hand. The best jol)s of Graining ever 
done in the City of New York have been done with these Colors. 
The materials being ground together, give more transparency and 
a better tone than it is possible to produce by mixing together 
Sienna, Umber and Vandyke Brown, as is the custom *of those who 
make a specialty of Graining. All the Fancy Woods in common 
use can be better imitated with our colors than with any mixture 
which the Grainer can make with the ordinary colors sold in the 
shops. We have also Distemper Colors, Ground in Water, for 
Glazing, and for Distemper Graining, viz : Raw and Burnt Umber, 
Raw and Burnt Sienna, Vandyke Brown and Ivory Black. These 
are of superior fineness and qualit}^ and will be found, in practice, 
much more economical than colors ground by hand. They are 
put up in one pound glass bottles, and sold at a uniform price of 
20 cents per i30und. 

The illustrations in the "American Grainers' Hand-book" we 
refer to as specimens of Grained Work done with our Ready-made 
Graining Colors. 

These Colors are put up in our patent thin top cans, from 1 11). 
to 5 lbs., and upwards. Price per lb., 25 cents. 

JOHN V/. MASURY & SON, 

Specialty in 'Pfi7'e ^aiiits. 
Ill FULTON STREET, NEW YORK. 



12 



ADYEETISEMENTS. 



COLLIER COMPANY, 

EST-A-BLISHED 1837. 

o 



PURE WHITE 



tsi 



X.EA.Di^ 

BliEACHED 



^ 






^ 



C3--a-.A.I^^A^lSrTEE 



THE COLLIER WHITE LEAD AND OIL CO. 

GUARANTEE their Brand of Strictly Pure White Lead to be Perfectly 
FREE FROM IMPURITIES, and will Pay 

$100} *»^= «^g?^=o?.J?**''''^''^ !$100 

And the Cost of Analysis for the Keg, if containing thf slightest adulteration. 



CHARLES K. VICKERS, 

Secretary. 



THOMAS RICHESON, 

President. 



ADVERTISEMENTS. 13 

Masury's Superfine Colors 

FOR 

COACH, CARRIAGE & CAR WORK. 

The use of these Colors has now become general, and they are looked upon 
as Standard Goods, Cheaper, Better and altogether viore Convenient than dry 
colors. Sample Book with forty Colors sent on receipt of stamp. 

0-A.XJTIO]Sr TO C01Sl&TJls/LE,-RS. 

Consumers of our Superfine Colors, for their own protection, and as a 
matter of simple justice to the undersigned, are requested to observe particu- 
larly that every package bears our full name and address. In some instances a 
trial order of our goods has brought a e.econd order which has been filled with 
some attempted imitation of our goods, which, being speedily condemned, has" 
resulted in prejudice to us, the consumer not noticing the absence of our name 
on the package. Let it be borne in mind that these Colors are now Standard 
Goods; and when imitators o£fer you paints which they claim are equal -to 
these, do not forget that at best they are, in the nature of things, untried and 
unreliable. To be tempted by so-called cheapness in such matters is not wise. 
To paint a job with our best Jet Black will cost at most only a shilling or two 
more than to use the commonest stuflf in market; and this extra cost is only 
apparent, as the less quantity required and the saving in labor will more than 
compensate for the extra first cost. 

Superfliie Colors in Oil.— Do not forget that we furnish (except the 
Carmine Lakes and Sup. Jet Black) all our colors ground in oil, of the same 
quality, fineness and body as the Superfine Coach Painters' Colors. These 
are intended for use by House Painters and Grainers, and for Ornamental work. 
The price* is generally about two-thirds that of the same colors ground in 
Japan or Gold Size. For example, the price of Burnt Umber ground in Japan 
is 35 cents per pound, whereas the color ground in oil, equally fine, for House 
Painters' use, would be only 25 cents, and so, as a rule, with all other colors 
used in House Painting. 

CARRIAGE PAINTERS' COMPANION. Copies sent by Mail on receipt of 75 cents. 

JOM W. MASURY & SON, 

Successors to MASURY & WHITO>, 

Manufacturer J of White Lead, Zinc and Painters^ Fine Colors. Also, Sole Manu- 
facturers of the Celebrated Ready-Made Colors known as "Railroad Colors," 

111 FULTON ST., NEW YORK. 



14 ADVEETISEMENTS. 

Buffalo White Lead Co., 

BUFFALO, NEW YORK. 



TRADE MARK: 

S. C. CORNELL & SON, 

WAEBANTED PERFECTLY 

'"^m wiif ■ Mil. 



m. 



jr "CT 3E> x> 

Linseed and Sperm Oil Company, 



NEW YORK, 



MANUFACTURERS AND IMPORTERS OF 



Eaw, Eeieil anfl BoiM Liiseefl Oil. 

SPERM, WHALE AND OTHER OILS. 



Sole Successors to SAMUEL JUDD, 



SAIlL,JODD'SS0NSKO,aBllJiL.K.BBIDI}E. 

ESTABLISHED OVER 40 YEARS. 



ADVERTISEMENTS . 



Masury's Ready-ma de Colors. 

To remedy the evils which grow out of the cominun and ex- 
treme adulteration of paints, and to save the trouble and loss of 
time consequent upon the mixing of colors wdth white, the sub- 
scribers have adopted the plan of selling Ready-made Colors, all 
of which are tones and tints suitable for exterior, and many of 
them for interior, house painting. The list comprises twenty 
different tints and shades of color, which are produced by the use 
of such materials as experience has proved to be most suitable for 
such purpose, reference being had to economy, durability, ease of 
working, and purity of tone of color. 

The advantages of our Ready-made Colors, known as ''Railroad 
Colors,'' are many. They are more economical, because they are 
mixed in large quantities by steam-power, and as only the exact 
quantity of coloring matter required is added, there is no w^aste. 
The tones and tints are the purest possible, being produced by the 
use of the very best materials. They are always the same, b.iug 
compounded by rule, and always in like proportions, and any 
additional required quantity of the same color may readily be 
obtained. 

Samples are furnished, and the owner may select the exact 
tone or hue which may please his taste, before the work shall be 
commenced. 

In estimating for quantity required, the following- may be con- 
sidered sufficiently correct for all practical purposes: 

One hundred pounds of Eailroad Color with the quantity of 
oil and turpentine required to thin the same, 2vill give one coat to 
750 square yards; two coats to about 450 square yards, and three 
coats to about 275 square yards of ordinary pine w^ood surface. 

A Book, entitled "Plain Talk with Practical Painters," con- 
taining samples of the colors, will be sent free by mail on receipt 
of postage stamp. 

JOHN W. MASURY & SON, 

111 Fulton Street, New York. 



16 ADVERTISEMENTS. 

OET THE BEJfiJT, 



Charles D. Thum, 

Brush Manufacturer, 

Ko. loO NORTH THIRD STREET, PHILADELPHIA, 

SOLE MANUFACTURER OF 

Improved Flat and Oval Varnish Brushes, 

SUPERIOR TO ANT NOW IN USE. 

In use by all the leading Coach and Carriage Manufactories and Rail Road Shops. 

They are warrauted to stand, and the pecnliarity in them is, they are so pointed nnd pre- 
pared that they can be immediately used for finighin^, without being previously worn down. 
They are of three qualities— Elastic or Soft, Half Elastic or Medium, and Bristle or Stiff. 
Circular contaiuiug Certificate of Varnishers' Association, References and Prices, sent by 
Mail, when requested. 

Copper Bound (all white hair) Varnish Brushes, suitable for coach makers' paint brushes. 
Also the ordinary paint and Sash Tools, Fitch, Badger and Camel Hair Varnish Brushes, 
extra thick and strong, Camel and Sable Hair Pencils and Liners, Chamois Skins, Feather 
Dusters, &c. 

Manufacturer of Improved Brushes for color and putting on Piotrowski's Permanent 
Wood Filling. 

Please send your orders (by mail or otherwise) direct to 150 North Third Street. 



Ctlllll 1141 C'fMf 411, 

CORUODERS OF 

Perfectly Pure White Lead 



TrtA-IDE is^^^i^k: : 



S> G. CORNELL & SON, 

WARRANTED PERFECTLY PURE 

BUFFALO, N. Y. 



ADVERTISEMENTS. 



17 



C. p. STAAB, 
ROBERT PALLEHNER, 
General Partners. 




M. KNOEDLER, 
Special Partner. 



tpia-Ide: is/la.:rt^. 



C. P. STAAB &; CO., 

Manufacturers of all kinds of 

'^CoacUraMS'aiiiGllte' 

.A.LSO, 

BADGER, BEAR, BRISTLE, CAMEL'S HAIR, 

AND FITCH FLOWING YARNISH BRUSHES. 



[^ Iff 



IM'POfirJSRS OF 

fllI41B 

CAMEL, MELONCIUO, SABLE LETTERING AND STRIPING PENCILS. 

ALSO, 

A Eegular Stock of Sheet Wax, Tools and Materials for making Wax Plowers. 



OFFICE AND WAREHOUSE, - - 52 BARCLAY STREET, 
FACTORY, - - - - 20 & 22 COMMERCE STREET, 



Illustrated Catalogue will be sent on application to Dealers. 



18 ADVERTISEMENTS. 

I^o. 53 "West Randolph St., 
CHICAGO, 



i.wPoiFti^Eft .^.r^ d:eale^ zv 



Fiae Colors, Arllst laterials, EmMyariilslies, ' 

AND 

Coach Painters' Supplies. 



SOLE .A-GEKFT iEPOn 



JOHN W. MASURY & SON'S 

Superfine Colors for Coach & Carriage Painters, 

AETISTS AND DECOEATOES, 

AND THE 

Celebrated Rail Road Colors for House Painting. 



The Consuming Trade in search of Pure Goods for 
^Tvhatever purpose, will find my stock complete, and can 
depend upon their reliability. 



ADVEKTISEMENTS. 



19 



John W. Masury & Son, 



Successors to MASURT & WHITON, 



MANUFACTURERS OF 



. Pure White leafl, Zinc aafl Celors, 

FOR 

Painters, Artists, Grainers, Decorators, 

AND FOR 

Coach, Carriage, Car and Ornamental Work, 

SPECIALTY IN PURE PAINTS; 

AND 

SOLE MANUFACTURERS OF THE CELEBRATED 

town as "M 



FOR ALL KINDS OF 



INTERIOR AND EXTERIOR HOUSE PAINTING. 



Sample Book, entitled "PLAIN TALK WITH PRACTICAL PAINTERS," showing 
samples of the "Railroad Colors," with instructions for use, sent to any address on 
receipt of stamp. 



20 ADVERTISEMENTS. 



VALENTINE & CO. 

(besire to impress upon Grainers and all ivho em= 
ploy Varnisli for the protection of painted surfaces^ 
the false economy of using other than the 7nost 
durable Varnishes. 

(deferring to Chapter xviii. of this (^ooh, we claiin 
that our Varnishes fill all the requirements there 
enumerated. 

For indoor grained work we reco^nmend our ^' Hard 
(brying (Body/' and for outside work our " Wearing 
(Body/' 

VALENTINE & CO,, 

Correspondence Invited. 

New York. 
























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